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Wuorinen Printable Program
The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide. -
American Mavericks Festival
VISIONARIES PIONEERS ICONOCLASTS A LOOK AT 20TH-CENTURY MUSIC IN THE UNITED STATES, FROM THE SAN FRANCISCO SYMPHONY EDITED BY SUSAN KEY AND LARRY ROTHE PUBLISHED IN COOPERATION WITH THE UNIVERSITY OF CaLIFORNIA PRESS The San Francisco Symphony TO PHYLLIS WAttIs— San Francisco, California FRIEND OF THE SAN FRANCISCO SYMPHONY, CHAMPION OF NEW AND UNUSUAL MUSIC, All inquiries about the sales and distribution of this volume should be directed to the University of California Press. BENEFACTOR OF THE AMERICAN MAVERICKS FESTIVAL, FREE SPIRIT, CATALYST, AND MUSE. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England ©2001 by The San Francisco Symphony ISBN 0-520-23304-2 (cloth) Cataloging-in-Publication Data is on file with the Library of Congress. The paper used in this publication meets the minimum requirements of ANSI / NISO Z390.48-1992 (R 1997) (Permanence of Paper). Printed in Canada Designed by i4 Design, Sausalito, California Back cover: Detail from score of Earle Brown’s Cross Sections and Color Fields. 10 09 08 07 06 05 04 03 02 01 10 9 8 7 6 5 4 3 2 1 v Contents vii From the Editors When Michael Tilson Thomas announced that he intended to devote three weeks in June 2000 to a survey of some of the 20th century’s most radical American composers, those of us associated with the San Francisco Symphony held our breaths. The Symphony has never apologized for its commitment to new music, but American orchestras have to deal with economic realities. For the San Francisco Symphony, as for its siblings across the country, the guiding principle of programming has always been balance. -
“Il '700: Il Classicismo, La Nascita Delle Forme E I Suoi Sviluppi”
dei Assessorato alla Cultura e al Turismo Festival Pianistico XXI EDIZIONE “Il ’700: il classicismo, la nascita delle forme e i suoi sviluppi” CASTEL NUOVO Maggio/Giugno 2019 Festival Pianistico XXI EDIZIONE Sala dei Baroni - ore 19,00 12 maggio - 19 maggio - 26 maggio - 2 giugno 2 Il Festival incontra i giovani Sala della Loggia - ore 11,00 12 maggio - 19 maggio - 26 maggio - 2 giugno 2 ingresso libero fino ad esaurimento posti Per informazioni: 347.8430019 [email protected] 2 a XXI edizione del Festival Pianistico, collegandosi Festival Pianistico al tema guida di questo “Maggio dei Monumenti” XXI EDIZIONE dedicato a Gaetano Filangieri e al ’700 ha come tema “Il ’700: il classicismo, la nascita delle forme e i suoi Lsviluppi” e ogni concerto, partendo da un autore del periodo Sala dei Baroni - ore 19,00 classico, proporrà un confronto con gli autori dei secoli succes- 12 maggio - 19 maggio - 26 maggio - 2 giugno sivi e con le evoluzioni, che, dalle basi formali nate proprio nel ’700, hanno poi generato tante diverse forme musicali. 2 In particolare il Festival Pianistico si articolerà in quattro domeniche, da domenica 12 maggio a domenica 2 giugno, con concerti serali nella Sala dei Baroni e nella mattinata nella Sala Il Festival incontra della Loggia per un totale di otto eventi. Anche questa edizione, come quelle storiche al Museo di Villa i giovani Pignatelli, all’Accademia di Belle Arti, al Museo Archeologico e al Complesso Monumentale di Sant’Anna dei Lombardi, si dividerà in due sezioni: una dedicata a pianisti di chiara fama ed una ai giovani talenti, con in particolare l’appuntamento del 2 giugno Sala della Loggia - ore 11,00 alle 11 nella “Sala della Loggia” dedicato ai vincitori del “Premio Pianistico Internazionale Napolinova”. -
Thalberg Revisited / the Piano Music of Sigismund Thalberg, Ian Hominick, Piano
Document generated on 10/01/2021 9:25 p.m. Canadian University Music Review Revue de musique des universités canadiennes --> See the erratum for this article Thalberg Revisited The Piano Music of Sigismund Thalberg, Ian Hominick, piano. Titanic Records Ti-227 [DDD], produced by Jeanne Lippincott Thalberg: Fantasies on Operas by Verdi, Rossini and Bellini. Francesco Nicolosi, piano. Marco Polo 8.223367 [DDD], produced by Tamás Benedek Paul F. Rice Volume 16, Number 2, 1996 URI: https://id.erudit.org/iderudit/1014439ar DOI: https://doi.org/10.7202/1014439ar See table of contents Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this review Rice, P. F. (1996). Review of [Thalberg Revisited / The Piano Music of Sigismund Thalberg, Ian Hominick, piano. Titanic Records Ti-227 [DDD], produced by Jeanne Lippincott / Thalberg: Fantasies on Operas by Verdi, Rossini and Bellini. Francesco Nicolosi, piano. Marco Polo 8.223367 [DDD], produced by Tamás Benedek]. Canadian University Music Review / Revue de musique des universités canadiennes, 16(2), 150–152. https://doi.org/10.7202/1014439ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 1996 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. -
Thursday Playlist
April 9, 2020: (Full-page version) Close Window “Inspiration is an awakening, a quickening of all man's faculties, and it is manifested in all high artistic achievements.” — Giacomo Puccini Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, 00:01 Buy Now! Debussy Six Epigraphes Antiques Andrei Diev Arte Nova 34053 743213405322 Awake! 00:21 Buy Now! Grieg Cradle Song ~ Lyric Pieces, Op. 68 BBC Scottish Symphony/Maksymiuk Naxos 8.550864 4891030508644 00:27 Buy Now! Tchaikovsky Orchestral Suite No. 2 in C, Op. 53 USSR Symphony/Svetlanov Melodiya 278825/26 3149023388256 01:01 Buy Now! Schubert Symphony No. 4 in C minor, D. 417 "Tragic" Hanover Band/Goodman Nimbus 5198 083603519827 01:33 Buy Now! Handel Concerto Grosso in A minor, Op. 6 No. 4 Bath Festival Orchestra/Menuhin EMI 73344 724357334426 01:46 Buy Now! Strauss Jr. Tales from the Vienna Woods Vienna Philharmonic/Maazel Sony 88697952062 886979520622 02:00 Buy Now! Dvorak Prague Waltzes Detroit Symphony/Dorati London 414 370 028941437020 02:10 Buy Now! Herrmann Suite ~ The Snows of Kilimanjaro Moscow Symphony/Stromberg Marco Polo 8.225168 636943516829 02:49 Buy Now! Borodin Overture ~ Prince Igor Toronto Symphony/Davis Sony 62406 074646240625 03:01 Buy Now! Bach Trio Sonata in G, BWV 1039 Alanko/Juutilainen/Mattila Naxos 8.553755 730099475525 03:13 Buy Now! Mozart Piano Concerto No. 08 in C, K. 246 Ashkenazy/London Symphony/Kertesz London 443 576 028944357622 03:36 Buy Now! Viotti Cello Concerto in C Harnoy/I Solisti Veneti/Scimone RCA 61228 090266122820 04:01 Buy Now! Haydn Piano Sonata No. -
Traficante Final Dissertation
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By DEBRA LEE TRAFICANTE Norman, Oklahoma 2010 AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ________________________________ Dr. William K. Wakefield, Chair ________________________________ Dr. Roland Barrett ________________________________ Dr. Paula Conlon ________________________________ Dr. Michael Raiber ________________________________ Dr. Teresa DeBacker © Copyright by DEBRA LEE TRAFICANTE 2010 All Rights Reserved. ACKNOWLEDGEMENTS My document committee consists of Dr. William K. Wakefield, Dr. Roland Barrett, Dr. Michael Raiber, Dr. Paula Conlon, and Dr. Teresa DeBacker, and I thank each of them for their careful reading and great assistance in the execution of this document. I feel very fortunate to have had the members who served on this committee, and hold them each in high regard. Special thanks are especially due to Dr. Wakefield, chair of my committee; he tirelessly helped me clarify ideas, find new ways to experience the piece, and express my thoughts more cogently. Without his unremitting support, this document would not exist. To my parents, Ron and Mary Ann Manna, I owe any success I have ever achieved to you both. The never-ending support you have afforded me is why I have accomplished what I have. I love you both and thank you. To my in-laws, Harry and Cheryl Craig, I sincerely appreciate the endless love and support you have given to me for the last fifteen years. -
Critical Performances Jonathan A. Neufeld
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by PhilPapers Critical Performances Jonathan A. Neufeld (Penultimate version of an article published in teorema, Vol. XXXI/3, 2012, ISSN: 0210-1602, [BIBLID 0210-1602 (2012) 31:3]) Abstract Philosophers of music commonly distinguish performative from critical interpretations. I would like to suggest that the distinction between critical and performative interpretations is well captured by an analogy to legal critics and judges. This parallel draws attention to several features of performative interpretation that are typically overlooked, and deemphasizes epistemic problems with performative interpretations that I believe are typically blown out of proportion and ultimately fail to capture interesting features of performative interpretation. There is an important distinction to be made between critical and performative interpretation, but its source lies in a difference between the authority of critical and performative interpretations. Keywords: Music, Interpretation, Performance, Performative Interpretation, Critical Interpretation, Levinson, Habermas, Authority. I. Philosophers of music commonly distinguish performative from critical interpretations. I would like to suggest that the distinction between critical and performative interpretations is well captured by an analogy to legal critics and judges. This parallel draws attention to several features of performative interpretation that are typically overlooked, and deemphasizes epistemic problems with performative interpretations that I believe are typically blown out of proportion and ultimately fail to capture interesting features of performative interpretation. 1 Critical Performances 2 A central problem with the debate over performative interpretation is a focus on an overly narrow set of properties that are relevant to identifying them. -
Peter Jarvis, Director
The William Paterson University Department of Music presents New Music Series Peter Jarvis, director with WPU New Music Ensemble and the WPU Percussion Ensemble Monday, December 1, 2014, 7:00 PM Shea Center for the Performing Arts Program Workers Union (1975) Louis Andriessen For any loud sounding group of instruments Evan Chertok, Sean Dello Monaco, Giancarlo Cordasco, Anton Corozza, Kenneth Cubillas, David Endean, John Ferrari, Patrick Lapinski, Payton MacDonald, Richard Martinez, Anthony Petruccello, Dakota Singerline Peter Jarvis ‐ Conductor Vibraphone Solo VII (2014)* David Saperstein Peter Jarvis Ten Mantra Tykes (2014)* Payton MacDonald For Percussion Quartet Jeff Depetris, Sean Dello Monaco, Matt Kohere, Kristyn Scrimo Payton MacDonald ‐ Conductor Première communion de la Vierge (1944) Oliver Messiaen from Vingt regards sur l'enfant‐Jésus For Solo Piano Carl Bolleia Blunt (2011) Quinn Collins For Percussion Trio Shane Adair, Evan Chertok, Dakota Singerline John Ferrari ‐ Conductor To The Earth (1985) Frederic Rzewski For Speaking Percussionist Homeric Hymn Peter Jarvis D‐Tayls4 (2013) David Rozenblatt For Mixed Ensemble Anton Corozza, Travis Salim, Patrick Lapinski, Richard Martinez Peter Jarvis ‐ Coach * ‐ World Premiere Program Notes Workers Union: Louis Andriessen Workers Union is a "symphonic movement for any loud sounding group of instruments." Pitches are not traditionally notated, but are spaced relative to a single horizontal line, which represents the center of the instrument's register. Much in the same aesthetic as other works of his same period, the composer requests that it "sound dissonant, chromatic and often aggressive." Andriessen states that "only in the case that every player plays with such an intention that his part is an essential one, the work will succeed." Workers Union is usually played with six or more people. -
Ideazione E Coordinamento Della Programmazione a Cura Di Massimo Di Pinto
Ideazione e coordinamento della programmazione a cura di Massimo Di Pinto gli orari indicati possono variare nell'ambito di 4 minuti per eccesso o difetto Giovedì 3 marzo 2016 00:00 - 02:00 euroclassic notturno bach, johann sebastian (1685-1750)/ gounod, charles (1818-1893) ave maria arr. per trba e org di blagoj angelovski blagoj angelovski, trba; velin iliev, org (reg. sofia, 1999) durata: 2.58 BNR ente radiofonico bulgaro lewkovitch, bernhard (1927) tre madrigali op. 13 su testi di torquato tasso a virgilio - all'aurora - non è questo un morire. the jutland chamber choir dir. mogens dahl durata: 8.26 DR radiotelevisione di stato danese barriere, jean (1705-1747) sonata n. 10 in sol mag per 2 vcl duo fouquet: elizabeth dolin e guy fouquet, vcl durata: 9.08 CBC canadian broadcasting corporation kainz, joseph (1738-1813) concerto in do mag per clav 2 ob 2 vl e b. c. allegro moderato - adagio - finale, presto. linda nicholson, clav; ensemble florilegium collinda (reg. herne, 17/11/1996) durata: 13.21 WDR radio della germania occidentale haydn, joseph (1732-1809) sonata per piano Hob XVI n. in mi min presto - adagio - finale: molto vivace. niklas sivelöv, pf (reg. stoccolma, 01/02/ 1997) durata: 12.15 SR radio svedese gounod, charles (1818-1893) l'amour! l'amour .. ah! lève-toi, soleil - cavatina e aria dall'opera: roméo et juliette (a. II) richard margison, ten; canadian opera company orch dir. richard bradshaw durata: 4.19 CBC canadian broadcasting corporation ciaikovsky, piotr (1840-1893) la tempesta, fantasia sinfonica op. 18 da shakespeare BBC philharmonic orch dir. -
Godfrey Winham
The habiT of PerfecTion To Prove My Love variaTions on a TheMe by JaMes PierPonT nP acknowledgmenTs The Music of Editing Engineer, Baird Winham at The Trees Studio in Red Hook, New York Recording Engineer, Chris Winham at Project North Studio in Rhinebeck, New York s Tony Arnold soprAno Kyle ArmbrusT violin Godfrey WinhaM AlAn Feinberg piAno Cyrus berouKhim violA Publishers: David Fulmer violin ChrisTopher gross Cello To Prove My Love: Boelke-Bomart Publications, Hillsdale, New York Habit of Perfection and Variations on a Theme by James Pierpont: published by APNM – Association for the Promotion of New Music This recording is made possible by the support of: Mrs. Bethany Beardslee Winham, Baird Winham, Chris Winham www.albanyrecords.com TROY1408 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 © 2013 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. The composer The Music Godfrey Winham was born on December 11,1934 in London, England, and died April 26, 1975 in Belle Mead, New Jersey, In one of his most celebrated writings, Godfrey Winham wrote that any musical sound, any musical configuration, could be at the age of 40. Winham studied at the Westminster School, the Royal Academy of Music (composition and piano), and the output of any musical system, that it was the trajectories of sounds and configuration, the specific paths of consecution privately with Matyas Seiber. He began to compose music at the age of 14 while at the Westminster School in London. -
The Fourth International Piano Master Competition
THE FOURTH INTERNATIONAL PIANO MASTER COMPETITION MARCH-APRIL 1983 ISRAEL THE ARTHUR RUBINSTEIN INTERNATIONAL MUSIC SOCIETY ' THE FOURTH INTERNATIONAL PIANO MASTER COMPETITION MARCH-APRIL 1983 ISRAEL . THE NEW JEWISH NATION HAS FELT, FROM ITS’ EARLIEST BEGINNING, THAT HOMELAND AND CULTURE ARE TWO CONCEPTIONS WHICH CANNOT BE SEPARATED FROM EACH OTHER. ARTHUR RUBINSTEIN For Israel this fourth Arthur Rubinstein International Piano Master Competition is an event of deep and moving significance. It is bound up with many aspects of our nation's life, even beyond the Competition's world-wide artistic importance and the aesthetic delight it gives to great numbers We see it this year as a fitting memorial to the great musician, humanist, superbly charming man and dedicated Jew who shed his luster upon it ever since its initiation in 1974. We in Israel have benefitted from Arthur Rubinstein's special, generous concern for young talents in the country, and we are happy that young artists from many countries are to participate 1n the Competition. Their presence and the remarkable panel of judges underscore the international nature of music and Israel's place in that great world - a place consonant with Israel's dedication to the arts and the enhancement of human life. May the fourth Rubinstein Competition fulfil its hopes Yitzhak Navon Jerusalem, January 25, 1983 Mr. J. Bistritzky The Arthur Rubinstein International Piano Master Competition P.O. Box 29MW Tel Aviv Dear Mr. Bistritzky, I wish to acknowledge with thanks receipt of your letter of January 12, 1983. Certainly, if I am able to do so, I will attend the special concert to mark the close of the Competition which bears the great artist's name. -
Patrimonio Uno CMBS S.R.L
OFFERING CIRCULAR DATED 28 JUNE 2006 Pursuant to Article 2, paragraph 3 of Italian Law No. 130 of 30 April 1999 and to Art. 8 of the Luxembourg law of 10 July, 2005, implementing the Prospectus Directive 2003/71/EC Patrimonio Uno CMBS S.r.l. (incorporated with limited liability under the laws of the Republic of Italy) € 115,050,000 Class A Commercial Mortgage Backed Floating Rate Notes due 2021 € 110,050,000 Class B Commercial Mortgage Backed Floating Rate Notes due 2021 € 70,000,000 Class C Commercial Mortgage Backed Floating Rate Notes due 2021 € 30,550,000 Class D Commercial Mortgage Backed Floating Rate Notes due 2021 € 39,500,000 Class E Commercial Mortgage Backed Floating Rate Notes due 2021 € 32,678,000 Class F Commercial Mortgage Backed Floating Rate Notes due 2021 with Class X Detachable Coupons This Offering Circular (the “Offering Circular”) constitutes a prospectus under Art. 8 of the Luxembourg law of 10 July, 2005, implementing the Prospectus Directive 2003/71/EC. Application has been made to the Luxembourg Stock Exchange (the “Luxembourg Stock Exchange“) for the admission to listing of the € 115,050,000 Class A Commercial Mortgage Backed Floating Rate Notes due 2021 (the “Class A Notes”), the € 110,050,000 Class B Commercial Mortgage Backed Floating Rate Notes due 2021 (the “Class B Notes”), the € 70,000,000 Class C Commercial Mortgage Backed Floating Rate Notes due 2021 (the “Class C Notes”), the € 30,550,000 Class D Commercial Mortgage Backed Floating Rate Notes due 2021 (the “Class D Notes”), the € 39,500,000 Class E Commercial Mortgage Backed Floating Rate Notes due 2021 (the “Class E Notes”), the € 32,678,000 Class F Commercial Mortgage Backed Floating Rate Notes due 2021 (the “Class F Notes“ and, together with the Class A Notes, the Class B Notes, the Class C Notes, the Class D Notes and the Class E Notes the “Notes”) to be issued by Patrimonio Uno CMBS S.r.l., a limited liability company organised under the laws of the Republic of Italy (the “Issuer“).