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Solo Percussion Is Published Ralph Shapey by Theodore Presser; All Other Soli for Solo Percussion
Tom Kolor, percussion Acknowledgments Recorded in Slee Hall, University Charles Wuorinen at Buffalo SUNY. Engineered, Marimba Variations edited, and mastered by Christopher Jacobs. Morton Feldman The King of Denmark Ralph Shapey’s Soli for Solo Percussion is published Ralph Shapey by Theodore Presser; all other Soli for Solo Percussion works are published by CF Peters. Christian Wolff Photo of Tom Kolor: Irene Haupt Percussionist Songs Special thanks to my family, Raymond DesRoches, Gordon Gottlieb, and to my colleagues AMERICAN MASTERPIECES FOR at University of Buffalo. SOLO PERCUSSION VOLUME II WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. AMERICAN MASTERPIECES FOR AMERICAN MASTERPIECES FOR Ralph Shapey TROY1578 Soli for Solo Percussion SOLO PERCUSSION 3 A [6:14] VOLUME II [6:14] 4 A + B 5 A + B + C [6:19] Tom Kolor, percussion Christian Wolf SOLO PERCUSSION Percussionist Songs Charles Wuorinen 6 Song 1 [3:12] 1 Marimba Variations [11:11] 7 Song 2 [2:58] [2:21] 8 Song 3 Tom Kolor, percussion • Morton Feldman VOLUME II 9 Song 4 [2:15] 2 The King of Denmark [6:51] 10 Song 5 [5:33] [1:38] 11 Song 6 VOLUME II • 12 Song 7 [2:01] Tom Kolor, percussion Total Time = 56:48 SOLO PERCUSSION WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. TROY1578 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. -
Liner Notes, Visit Our Web Site
“Music of Our Time” When I worked at Columbia Records during the second half of the 1960s, the company was run in an enlightened way by its imaginative president, Goddard Lieberson. Himself a composer and a friend to many writers, artists, and musicians, Lieberson believed that a major record company should devote some of its resources to projects that had cultural value even if they didn’t bring in big profits from the marketplace. During those years American society was in crisis and the Vietnam War was raging; musical tastes were changing fast. It was clear to executives who ran record companies that new “hits” appealing to young people were liable to break out from unknown sources—but no one knew in advance what they would be or where they would come from. Columbia, successful and prosperous, was making plenty of money thanks to its Broadway musical and popular music albums. Classical music sold pretty well also. The company could afford to take chances. In that environment, thanks to Lieberson and Masterworks chief John McClure, I was allowed to produce a few recordings of new works that were off the beaten track. John McClure and I came up with the phrase, “Music of Our Time.” The budgets had to be kept small, but that was not a great obstacle because the artists whom I knew and whose work I wanted to produce were used to operating with little money. We wanted to produce the best and most strongly innovative new work that we could find out about. Innovation in those days had partly to do with creative uses of electronics, which had recently begun changing music in ways that would have been unimaginable earlier, and partly with a questioning of basic assumptions. -
EMPTY WORDS Other
EMPTY WORDS Other Wesley an University Press books by John Cage Silence: Lectures and Writings A Year from Monday: New Lectures and Writings M: Writings '67-72 X: Writings 79-'82 MUSICAGE: CAGE MUSES on Words *Art*Music l-VI Anarchy p Writings 73-78 bv WESLEYAN UNIVERSITY PRESS Middletown, Connecticut Published by Wesleyan University Press Middletown, CT 06459 Copyright © 1973,1974,1975,1976,1977,1978,1979 by John Cage All rights reserved First paperback edition 1981 Printed in the United States of America 5 Most of the material in this volume has previously appeared elsewhere. "Preface to: 'Lecture on the Weather*" was published and copyright © 1976 by Henmar Press, Inc., 373 Park Avenue South, New York, New York 10016. Reprint pernr~sion granted by the publisher. An earlier version of "How the Piano Came to be Prepared" was originally the Introduction to The Well-Prepared Piano, copyright © 1973 by Richard Bunger. Reprinted by permission of the author. Revised version copyright © 1979 by John Cage. "Empty Words" Part I copyright © 1974 by John Cage. Originally appeared in Active Anthology. Part II copyright © 1974 by John Cage. Originally appeared in Interstate 2. Part III copyright © 1975 by John Cage. Originally appeared in Big Deal Part IV copyright © 1975 by John Cage. Originally appeared in WCH WAY. "Series re Morris Graves" copyright © 1974 by John Cage. See headnote for other information. "Where are We Eating? and What are We Eating? (Thirty-eight Variations on a Theme by Alison Knowles)" from Merce Cunningham, edited and with photographs and an introduction by James Klosty. -
A.Pe.Ri.Od.Ic Presents a JOHN CAGE FESTIVAL April 13-15, 2012 CHICAGO 5 Concerts Celebrating the Centennial of John Cage’S Birth
a.pe.ri.od.ic presents A JOHN CAGE FESTIVAL April 13-15, 2012 CHICAGO 5 concerts celebrating the centennial of John Cage’s birth (1) (2) April 13, 7:30 PM April 14, 1:30 PM PianoForte Chicago Chicago History Museum Rubloff Auditorium 410 S. Michigan Ave 1601 N. Clark St (3) (5) April 14, 7:00 PM Collaboraction April 15, 4:00 PM (4) Curtiss Hall April 14, 9:00 PM 410 S. Michigan Ave Collaboraction 1579 N. Milwaukee Ave Room 300 a.pe.ri.od.ic presents: A John Cage Festival April 13-15, 2012 Chicago 2012 marking the centennial of John Cage's birth will host hundreds of Cage festivals, memorial concerts, conferences, exhibits and lectures, held all over the world demonstrating not only Cage’s contributions to music, art, poetry, politics and aesthetics, but also his relevance and influence on the development of each of these fields. Wanting to appropriately celebrate and honor his life's work a.pe.ri.od.ic presents a three-day festival featuring repertoire spanning over 50 years of the composer’s output. The festival includes five concerts of John Cage’s repertoire for toy piano, percussion ensemble, vocal ensemble, string quartet, piano, duos, and multimedia arts. These works exhibit Cage’s micro-macroscopic rhythmic structure, a smattering of indeterminacy, his collaborative endeavors, three of his late Number Pieces, and a lecture on the John Cage Collection examining pieces presented on the festival. John Cage lived in Chicago early on in his career, teaching at the Chicago Institute of Design and accompanying dance classes at the University of Chicago. -
Alan Shockley, Director
Luciano Berio in Milan and in Berlin. He has also taught for many years at the Royal Conservatory. Andriessen’s music combines such influences as American minimalism and jazz, as well as the music of Stravinsky and of Claude Vivier. He is now widely acknowledged as a central figure in contemporary European composition. Like Martin Bresnick, Andriessen is also well-known as an educator, and several of his former students are noted composers themselves. Workers Union is scored for “any loud sounding group of instruments.” The composer writes that the piece “is a combination of individual freedom and severe discipline: its rhythm is exactly fixed; the pitch, on the other hand, is indicated only approximately.” The title seems to indicate political motivations, and Andriessen says that it “is difficult to play in an ensemble and to remain in step, sort of like organizing and carrying on political action.” An ensemble of twelve musicians performed the premiere, blocking an Amsterdam street and using construction materials as percussion instruments. The composer was arrested at the performance and spent the night in jail. Depending on what repeats are taken, the work is anywhere from 15 to 20 minutes long. UPCOMING COMPOSITION STUDIES EVENTS ALAN SHOCKLEY, DIRECTOR • Sunday, November 18, 2012: Laptop Ensemble, Martin Herman, director 8:00pm Daniel Recital Hall $10/7 “WORKERS UNION” MONDAY, NOVEMBER 5, 2012 8:00PM GERALD R. DANIEL RECITAL HALL For ticket information please call 562.985.7000 or visit the web at: PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES. This concert is funded in part by the INSTRUCTIONALLY RELATED ACTIVITIES FUNDS (IRA) provided by California State University, Long Beach. -
Christian Wolff: an Aesthetic of Suggestion George E
Christian Wolff: An Aesthetic of Suggestion George E. Lewis When Christian Wolff and Robyn Schulkowsky came to my Columbia University office in October 2012 for a chat about this project, I greeted them with a YouTube video they had never seen before: a performance of the concluding work on this CD, Duo 7 from 2007. After some discussion it was determined that the video was apparently made by an audience member from a 2011 performance in Buenos Aires. “We’ve played this piece many times,” Schulkowsky laughed. “That’s a funny little piece.”1 Indeed it was, and the performance was a fortuitous introduction to a conversation that I’ve reflected upon here. Robyn Schulkowsky’s path to new music seems as fortuitous as one could imagine. Since the early 1990s she has lived in Berlin, but her musical career began in South Dakota. She applied to the Eastman School of Music, but “my parents wouldn’t let me go because it was in New York State.” So she ended up going to “new music school,” as she fondly recalled. “I wasn’t expecting anything. I didn't know anything. I just wanted to be a percussionist. I’d had maybe twenty private lessons.” But she wound up as an undergraduate at the University of Iowa, one of the most exciting scenes in the emerging American new music of the 1970s, where fellow percussionist Steven Schick was a classmate, along with the trombone-violin duo of Jon English and Candace Natvig, clarinetist Michael Lytle, percussionist Will Parsons, and the African- American electronic music composer Richard McCreary, who later taught synthesis techniques to Muhal Richard Abrams and me at Governors State University near Chicago before becoming an ordained minister.2 Moving to New Mexico, Schulkowsky teamed up with saxophonist Tom Guralnick, doing improvised music concerts and organizing a concert series that brought in Anthony Braxton and Alvin Lucier, among others—“Besides us, there was nobody doing that kind of thing there”—as well as performing with the New Mexico Symphony Orchestra and teaching at the University of New Mexico. -
John Cage and Recorded Sound: a Discographical Essay
SOUND RECORDING REVIEWS Edited by Rick Anderson JOHN CAGE AND RECORDED SOUND: A DISCOGRAPHICAL ESSAY By Rob Haskins Record collections, - that is not music. ... A lady in Texas said: I live in Texas. We have no music in Texas. The reason they've no music in Texas is because they have recordings. Remove the records from Texas and someone will learn to sing.1 John Cage's ambivalent attitude toward recorded sound is well known. Ever skeptical of an aesthetics that privileges objects, he felt that audi- ences should pay more attention to art, like existence itself, as a continual process of becoming. In conventional music, according to Cage, com- posers imprisoned sounds within relatively straightforward structural de- signs that were intended either to impress listeners with intellectual inge- nuity or to drown them in sentiment, preventing the sounds from tending toward their natural complexity and ambiguity. As a result, musical recordings brought about the mistaken impression that performance - a naturally evanescent experience - could be reified and that the resul- tant objects, now possessed by its consumers, held the same ontological status as the music itself. Cage's emphasis on becoming also included an ethical dimension. He famously spoke of his music and ideas as useful for society - that princi- ples embodied in his music could be used to solve social problems - and also noted that he had no use for recordings. While this statement sug- gests that Cage doubted the social usefulness of recordings, the implica- tions of the remark are unclear. He possibly meant that the false objecti- fication of music through recorded sound discouraged difference: the ideal state of societies comprising many individuals. -
MORTON FELDMAN and SOLOISTS by Eberhard Blum
MORTON FELDMAN AND SOLOISTS by Eberhard Blum The following text was originally published in German as Chapter 8 of Eberhard Blum, Choice & Chance: Bilder und Berichte aus meinem Leben als Musiker [“An Illustrated Account of My Life as a Musician”] (Berlin: Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur, 2008). English translation by Peter Söderberg and Chris Villars. Much has been written about the composer Morton Feldman. He himself wrote a series of essays on the fundamentals of his work and thought (collected in, Morton Feldman Essays, Beginner Press, Kerpen 1985 and posthumously in, Give My Regards to Eighth Street, Exact Change, Cambridge 2000). The interviews given by Feldman between 1963 and his death in 1987, selected and edited by Chris Villars (Morton Feldman Says, Hyphen Press, London 2006), can also be very much recommended as stimulating reading. However, most stimulating of all for me was without doubt working together with Feldman on his chamber music works: our many performances and concert tours together and above all the personal conversations in which he began outlining that which later received its final formulation in his articles and interviews. Standing backstage just before a performance, only seconds before going in front of the audience to give an introduction to the concert, he would often ask us musicians to provide him with a starting point for his talk: “Just give me the first line!” Feldman was a master of the “gradual development of thoughts while speaking”, to borrow a phrase from Heinrich von Kleist, and he needed no more than a few initial words to be able to extemporize the seamless flow of his talk – intelligent, entertaining, informative, moving – whether as a lecture given in public or within an intimate circle of friends. -
MUSIC and the ECLIPSE of MODERNISM By
SIGNAL TO NOISE: MUSIC AND THE ECLIPSE OF MODERNISM By MATTHEW FRIEDMAN A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in History written under the direction of T.J. Jackson Lears and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey May 2013 ABSTRACT OF THE DISSERTATION Signal to Noise: Music and the Eclipse of Modernism By MATTHEW FRIEDMAN Dissertation Director: T.J. Jackson Lears There was danger in the modern American soundscape; the danger of interruption and disorder. The rhetoric of postwar aural culture was preoccupied with containing sounds and keeping them in their appropriate places. The management and domestication of noise was a critical political and social issue in the quarter century following the Second World War. It was also an aesthetic issue. Although technological noise was celebrated in modern American literature, music and popular culture as a signal of technological sublime and the promise of modern rationality in the US, after 1945 noise that had been exceptional and sublime became mundane. Technological noise was resignified as "pollution" and narrated as the aural detritus of modernity. Modern music reinforced this project through the production of hegemonic fields of representation that legitimized the discursive boundaries of modernity and delegitimized that which lay outside of them. Postwar American modernist composers, reconfigured as technical specialists, developed a hyper-rational idiom of "total control" which sought to discipline aural disorder and police the boundaries between aesthetically- acceptable music and sound and disruptive noise. -
No Ear for Music the Scary Purity of John Cage
34 No Ear for Music The Scary Purity of John Cage David Revill, The Roaring Silence (New York: Arcade, 1992; 375 pp.) Richard Kostelanetz, ed., Conversing with Cage (New York: Limelight, 1988; 300 pp.) Pierre Boulez and John Cage, Correspondance et documents, edited by Jean-Jacques Nattiez (Winterthur: Amadeus, 1990; 234 pp.); trans. Robert Samuels, The Boulez- Cage Correspondence (Cambridge: Cambridge University Press, 1993; 168 pp.) John Cage, The Complete Quartets; Arditti Quartet (Mode 17 & 27, 2 CDs) John Cage, The Perilous Night; Four Walls; Margaret Leng Tan (New Albion 37) John Cage, Lecture on Nothing; Works for Cello; Frances-Marie Uitti (Etcetera 2016) Lenny Bruce had a routine in which he sent audiences into paroxysms by classifying any artifact of contemporary culture to which they referred him as Jewish or goyish. The high point, on the recording that I heard, came when someone shouted, I think, “instant scrambled eggs,” and Bruce went, “ooh . scary goyish.” There is no better way of understanding what John Cage has meant to us, why he was so notorious and then so famous, and why his name will long remain an emblem. For half a century he stalked the world of music as its scariest goy. This had nothing to do with religion, or with the ethnic complexion of modern America. It wasn’t even a question of Us and Them. What made the classification funny was that all the mundane items classified belonged to Us. The classification showed up the contradictions in the shared culture, and in its values. What was “Jewish” confirmed our cherished notions of ourselves; what was “goyish” disconfirmed them. -
GRETE SULTAN Eine Pianistinnen-Karriere
1 WDR/Red. Gisela Corves 32 BETRACHTUNGEN ÜBER GRETE SULTAN Eine Pianistinnen-Karriere Ein Feature von Jean-Claude Kuner Erzähler: (und Überschriften) Cage: Sprecherin: Sprecher: Jean-Claude Kuner Frankfurter Tor 9 10243 – Berlin Tel. 030 – 290 477 49 [email protected] 1: Der Zufall 1 2 Cage : Dieser Gedanke an sich ein Versuch, das anzuhalten, … weiter, ist Leben denn es geht gleichgültig gegen die Tode Teil seines kein Anfang, keine keine Bedeutung die Mitte, sind. (S. 46) Musik: Cage: Etudes australes # 32 (Wergo, LC 0846) O-Ton: Sultan: Spielen Sie Schach? Das wär nett! Sprecher: 32 BETRACHTUNGEN ÜBER GRETE SULTAN Eine Pianistinnen-Karriere von Jean-Claude Kuner O-Ton: Sultan: Ich bin jetzt 95. Long ago! Lange Zeit her! O-TON: SULTAN: 41A+B Ich bin im Jahre 47 Amerikanerin geworden. Ich hatte keine Staatsangehörigkeit. Ich war keine Deutsche mehr. Die haben mir doch meinen Pass weggenommen und alles. Ich war keine Deutsche. O-Ton: Sultan 60 (man hört Schritte, sie murmelt) I am getting old. I am old. I am getting older all the time. I am loosing my memory of names and dates and when I don´t think about it than I know it all. No trouble. But if I have to say it and remember, than there it goes. 2 3 (Musik: hoch) O-Ton Strassenlärm NYC, lange, dann wieder E.A. # 32 Cage : Und das Zuhören geschieht am besten in einem Zustand geistiger Leere … 1: Der Zufall Ton: man hört das monotone Ziehen von Strichen über Papier Erzähler: Ein durchsichtiges Planquadratnetz liegt über der Sternenkarte “Atlas Australis”. -
Three Case Studies in Twentieth-Century Performance Practice Tina Huettenrauch Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2012 Three case studies in twentieth-century performance practice Tina Huettenrauch Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Huettenrauch, Tina, "Three case studies in twentieth-century performance practice" (2012). LSU Doctoral Dissertations. 547. https://digitalcommons.lsu.edu/gradschool_dissertations/547 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THREE CASE STUDIES IN TWENTIETH-CENTURY PERFORMANCE PRACTICE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Tina Huettenrauch B.A., Millsaps College, 2005 M.M., Louisiana State University and Agricultural and Mechanical College, 2008 August 2012 ACKNOWLEDGEMENTS First and foremost I wish to express my deepest gratitude to my dissertation advisor, Jan Herlinger, for his tireless commitment to this project, unceasing encouragement, precise and careful editing of my writing, and many insightful suggestions and comments. His dedication to his students and the field of musicology has always been a tremendous inspiration and I am truly grateful to have had him to guide me on this journey. I wish to thank my committee, Brett Boutwell, Andreas Giger, Alison McFarland, Robert Peck, and John Pizer for their continuous support, meticulous reading of the chapter drafts, and ready willingness to help.