DOCSLIB.ORG

Jeffrey Milarsky, Music Director and Conductor Adam Phan, Harp Jaeden Izik-Dzurko, Piano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jeffrey Milarsky, Music Director and Conductor Adam Phan, Harp Jaeden Izik-Dzurko, Piano Saturday Evening, November 23, 2019, at 7:30 The Juilliard School presents AXIOM Jeffrey Milarsky, Music Director and Conductor Adam Phan, Harp Jaeden Izik-Dzurko, Piano ELLIOTT CARTER (1908–2012) Mosaic (2004) ADAM PHAN, Harp GEORGE LEWIS (b. 1952) Ikons (2011) Intermission MORTON FELDMAN (1926–87) Madame Press Died Last Week at Ninety (1970) PHILIP GLASS (b. 1937) The Hours—A Suite in Three Movements (2002) (arr. Michael Riesman) The Poet Acts, Morning Passages, Why Does Someone Have to Die?, Dead Things An Unwelcome Friend, Something She Has to Do, I Going to Make a Cake, The Kiss The Hours JAEDEN IZIK-DZURKO, Piano Performance time: approximately 1 hour and 20 minutes, including an intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program formalizer of new techniques and sonorities by Matthew Mendez for his instrument remain without parallel. Yet as Carter lamented in his later years, few Mosaic composers during the second half of the ELLIOTT CARTER century paid much heed to his old friend’s Born: December 11, 1908, in New York City innovations. By way of compensation, it Died: November 5, 2012, in New York City seems, he came to feature them exten- sively in his harp writing, and nowhere was In 1971, when Aaron Copland hailed Elliott that more true than in Mosaic. In Carter’s Carter (faculty 1966–1984) as “one of Amer- hands, Salzedo’s trademark sonorities ica’s most distinguished creative artists in (rumbling glissando textures, delicate per- any field,” little could he have imagined that cussive effects, and all manner of alterna- the subject of his tribute would still be going tive plucking sounds) help defamiliarize the strong a full four decades later, in one of the harp, transforming it into something alto- most remarkable feats of longevity in the an- gether more changeable and multifaceted nals of this nation’s musical history. Heir to than the usual impressionist stereotype the visionary Yankee mantle of his early men- would imply. Perhaps this is one way of un- tor Charles Ives, Carter was relatively slow derstanding Mosaic’s title—though it more to find his compositional métier, and even obviously refers to the score’s construction, his formidably multilayered works of the a characteristic Carterian collage of varied 1960s—though hailed as masterpieces by no musical episodes, or “strophes,” to use a less a figure than Igor Stravinsky—were the term by Carter expert David Schiff (D.M.A. products of lengthy, agonizing contempla- ’79, composition). Most of the strophes in- tion. It was only after his 75th birthday that clude the harp in some guise, but they all Carter began to compose with greater ease, aspire, as Carter put it, to “make one coor- and during the last two decades of his life he dinated impression.” grew so prolific as to put the advanced-age harvests of Verdi and Strauss totally in the Ikons shade. By the time of his death at age 103, GEORGE LEWIS Carter’s tenacity and continued delight in the Born: July 14, 1952, in Chicago act of creation had made admirers of even those who had once opposed his aesthetic Composer, trombonist, creative improviser, credos. There was, for instance, compos- computer musician, installation artist, scholar, er John Tavener, whose music was worlds historian, curator, teacher, musical con- away from Carter’s, but who nevertheless science writ large: Though George Lewis is said that the key accomplishment of the all of these things and more, to emphasize American elder statesman was “to rid mod- any of them at the expense of the others ernism of all its angst, creating sparkling edi- would do a disservice to one of the most fices of joy and beauty.” voracious, forward-thinking musicians of our time. A longtime member of the experi- A kind of pocket concertino for harp and mental collective known as the Association mixed septet, Mosaic is one such sparkling for the Advancement of Creative Musicians edifice. It represents Carter’s most sustained and the recipient of a MacArthur “Genius” homage to Carlos Salzedo, the French-born Fellowship, Lewis has spent his career harpist and member of the Ives-affiliated questioning and subverting the exclusionary “ultramodernist” circle of U.S. composers belief systems that help structure the musi- of the 1920s and early ’30s. Even today, cal field—for example, that composition and Salzedo’s achievements as an inventor and improvisation are necessarily at odds, or the unstated assumption that African-American Lewis goes on to characterize these musical expression and avant-garde, experi- weighty repeated gestures as “earcons,” mental creativity are mutually exclusive. Not which is the term for the sonic cues that only that, Lewis has long been a trailblazer punctuate the experience of using comput- in the field of interactive computer music, ers and other digital interfaces. Musically, particularly via his watershed “composition” he associates these earcons with the work Voyager, a digital software agent that he of psychoacoustician Stephen McAdams programs to improvise in real time with hu- and composer Roger Reynolds, both of man performers. As the sociologist Herman whom he met in Paris during the 1980s, Gray aptly puts it, Lewis wants to shake up while he was in residence at IRCAM “the deeply embedded terms in which race, (Institut de Recherche et Coordination in this case whiteness, organizes new dig- Acoustique/Musique). ital information technologies despite their being presented as neutral, unmarked, and Nor is this Ikons’ only link with that period beyond cultural politics.” in Lewis’ life, during which time he came to know some of the leading exponents of the Commissioned by the 2010 Vancouver Cul- French spectralist movement. Aptly, then, tural Olympiad, what Lewis designates as Lewis generated the “mountainous” ear- Ikons has two discrete “modes,” to use his cons by instrumentally resynthesizing (i.e. noun: the fully notated octet we will be hear- transcribing) sounds subjected to classic ing this evening and an interactive sculp- spectralist digital manipulations (frequency ture-installation created in conjunction with modulation and stretching). In a similar vein, the Canadian multimedia artist Eric Metcalfe a few of Ikons’ violent breakdowns, which whose sonic component (its “virtual orches- Lewis refers to as “ikon-smashing scenes,” tra,” as Lewis puts it) consists of recorded pay homage to his former Columbia Univer- extracts of the composed score. It is not sity colleague Tristan Murail. But here we just the octet that informed the sculpture, might want to ask: is the ikon-smashing a though: There was a feedback loop of influ- critique of our moment of ubiquitous com- ence in both directions, since Lewis’ discus- puting, or rather, a self-critique of the score’s sions with Metcalfe also inspired the score First Nations inspiration? Perhaps both, itself. Taking First Nations iconography as its since Lewis, pointing to the specific context loose point of departure, Metcalfe’s installa- in which the commission arose, reminds us tion revolved around a set of colorfully dec- that Vancouver is “unceded Coast Salish ter- orative, pyramid-like “ikons,” whose shapes ritory,” and as such, muses that “perhaps evoked British Columbia’s boreal mountains people should be thinking about that aborig- and forests. As far as the score-based iter- inal history when they listen to the music.” ation of Ikons went, this translated into an This is utterly characteristic Lewis, whose almost pictorial impulse, according to Lewis: creative practice unflinchingly confronts our ostensibly “high-tech,” digitally dematerial- In an odd way, I connect the opening ized present, highlighting the ways in which gesture in the work to climbing mountain it remains haunted by the sins and exclu- ranges; if you look at Eric’s “ikons,” you sions of our violent settler-colonial pasts. see the connection, and in the music, there is a persistently articulated “climb- ing” motion—like what people call “memes” today, or auditory “ikons.” Madame Press Died Last Week at Ninety U.S. It was through Maurina-Press, Feldman MORTON FELDMAN later said, that he “was instilled with a sort Born: January 12, 1926, in Brooklyn of vibrant musicality,” which he contrasted Died: September 3, 1987, in Buffalo with merely rote “musicianship.” In par- ticular, he recalled being entranced by her A man of contradictions, if ever there were keyboard touch, a sensitivity it is not hard one: that has long been the conventional wis- to relate to his mature fascination with the dom on Morton Feldman, an individual whose luminous “aura” of individual sound events: compositional practice so often seemed to “The way she would put her finger down, sit at the furthest possible remove from his in the Russian way, just the finger, the light- public persona. Critic John Rockwell put the ness of the finger, and produce a B-flat … essential paradox well in his obituary for the you wanted to faint!” composer, writing how “despite the ethereal quality of his music, in person Mr. Feldman Like a handful of other contemporaneous was an almost Rabelaisian figure, with a Feldman pieces, which partook of what he de- pungent Brooklyn accent and an undisguised scribed as “the illusion of feeling,” Madame appetite for sensuous pleasure.” Rockwell Press can be heard as a kind of com- gestures at Feldman’s reputation as an im- posed-out mourning ritual, centered upon an posing, chain-smoking bear of a man, a true insistently repeated descending figure, har- raconteur who so often reveled in crudity and monized and “shaded” variously with each shock value.
Load more

Recommended publications
  • CONCERT QUICK GUIDE™ SAT 11/18/17 at 8 PM, the Richard B
    CONCERT QUICK GUIDE™ SAT 11/18/17 at 8 PM, The Richard B. Fisher Center for the Performing Arts at Bard College, Sosnoff Theater SUN 11/19/17 at 4 PM, Peter Norton Symphony Space, Peter Jay Sharp Theatre a co-presentation with Performances #72 & #73: Season 3, Concerts 9 & 10 Gerard Schwarz, conductor The concert will last approximately 2 hours and 10 minutes Brief remarks by Matt Walley, trombone Eugene Goossens Born: 5/26/1893 in London Died: 6/13/1962 at age 69 in Middlesex, England Jubilee Variations NY Premiere “I hear a distinctly American sound in this piece. It has ten move- ments by ten different American composers, and ranges from rhythmic to lush melodies.” –Lara Baker-Finch, TŌN musician 21 min Movements Theme: Goossens Variation 6: Walter Piston Variation 1: Paul Creston Variation 7: Roy Harris Variation 2: Aaron Copland Variation 8: Anis Fuleihan Variation 3: Deems Taylor Variation 9: Bernard Rogers Variation 4: Howard Hanson Variation 10: Ernest Bloch Variation 5: William Schuman Finale: Goossens Written Premiered 1944 3/23/1945 at Music Hall in Cincinnati Cincinnati Symphony Orchestra Goossens, conductor Intermission Meet & greet Share a selfie Refreshments 20 min some of the musicians @TheOrchNow SAT: in the lobby SAT: in the lobby #TheOrchNow SUN: at Bar Thalia SUN: at the back of on the lower level the theatre WiFi SAT: BardWireless at the Fisher Center SUN: Sharp Guest at Symphony Space Restrooms at the Fisher Center are located on either side of the lobby. Restrooms at Symphony Space are located at the back of the theatre.
    [Show full text]
  • Nasher Sculpture Center's Soundings Concert Honoring President John F. Kennedy with New Work by American Composer Steven Macke
    Nasher Sculpture Center’s Soundings Concert Honoring President John F. Kennedy with New Work by American Composer Steven Mackey to be Performed at City Performance Hall; Guaranteed Seating with Soundings Season Ticket Package Brentano String Quartet Performance of One Red Rose, co-commissioned by the Nasher with Carnegie Hall and Yellow Barn, moved to accommodate bigger audience. DALLAS, Texas (September 12, 2013) – The Nasher Sculpture Center is pleased to announce that the JFK commemorative Soundings concert will be performed at City Performance Hall. Season tickets to Soundings are now on sale with guaranteed seating to the special concert honoring President Kennedy on the 50th anniversary of his death with an important new work by internationally renowned composer Steven Mackey. One Red Rose is written for the Brentano String Quartet in commemoration of this anniversary, and is commissioned by the Nasher (Dallas, TX) with Carnegie Hall (New York, NY) and Yellow Barn (Putney, VT). The concert will be held on Saturday, November 23, 2013 at 7:30 pm at City Performance Hall with celebrated musicians; the Brentano String Quartet, clarinetist Charles Neidich and pianist Seth Knopp. Mr. Mackey’s One Red Rose will be performed along with seminal works by Olivier Messiaen and John Cage. An encore performance of One Red Rose, will take place Sunday, November 24, 2013 at 2 pm at the Sixth Floor Museum at Dealey Plaza. Both concerts will include a discussion with the audience. Season tickets are now available at NasherSculptureCenter.org and individual tickets for the November 23 concert will be available for purchase on October 8, 2013.
    [Show full text]
  • ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
    ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious.
    [Show full text]
  • SPRING 10 Alice TULLY HALL and the Juilliard School / City College of NEW YORK School of Architecture / FRANK SINATRA School OF
    Prsrt STD U.S. POSTAGE THE STEEL INSTITUTE OF NEW YORK THE ornamental metal INSTITUTE OF NEW YORK paid 211 EAST 43RD STREET, SUITE 804 PUBLISHED BY THE STEEL INSTITUTE OF NEW YORK AND THE ORNAMENTAL METAL INSTITUTE OF NEW YORK NEW YORK NY 10017 PERMIT NO. 161 LANCASTER, PA SPRING 10 ALICE Tully HALL AND THE JUILLIARD SCHOOL / CITY COLLEGE OF NEW YORK SCHOOL OF ARCHITECTURE / FRANK sinatra SCHOOL OF THE arts / NEW YORK LAW SCHOOL / 41 COOPER SQUARE / ONE JACKSON SQUARE / PUBLISHED BY THE standard HOTEL / MONROE HIGH SCHOOL ANNEX CONTENTS EDITOR’S NOTE SPRING 10 Test of strength 1 OVER THE YEARS, OUR introduce its own testing is EDITOR’S NOTE building codes have expanded unlikely to reduce them. Since beyond their traditional focus on virtually every structural material 2 AliCE Tully Hall and life safety to include requirements must undergo strength testing, THE JUILLIARD SCHOOL for social initiatives such as it’s reasonable to ask why steel energy conservation, accessibility isn’t also at risk of testing fraud. 8 for the disabled, and historic Because of how it is produced, City College of New York preservation under their regulatory steel is able to be certified and SCHOOL OF ARCHITECTURE umbrella. Given this evolution, verified as conforming to the 14 it is disturbing to find that one required shape, size, composition, Frank Sinatra SChool of the most fundamental of and strength before it’s ever OF THE Arts code concerns—validating the delivered to a job site. Two strength of structural materials— separate inspections provide this 20 is dominating industry headlines.
    [Show full text]
  • Between Liminality and Transgression: Experimental Voice in Avant-Garde Performance
    BETWEEN LIMINALITY AND TRANSGRESSION: EXPERIMENTAL VOICE IN AVANT-GARDE PERFORMANCE _________________________________________________________________ A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Theatre and Film Studies in the University of Canterbury by Emma Johnston ______________________ University of Canterbury 2014 ii Abstract This thesis explores the notion of ‘experimental voice’ in avant-garde performance, in the way it transgresses conventional forms of vocal expression as a means of both extending and enhancing the expressive capabilities of the voice, and reframing the social and political contexts in which these voices are heard. I examine these avant-garde voices in relation to three different liminal contexts in which the voice plays a central role: in ritual vocal expressions, such as Greek lament and Māori karanga, where the voice forms a bridge between the living and the dead; in electroacoustic music and film, where the voice is dissociated from its source body and can be heard to resound somewhere between human and machine; and from a psychoanalytic perspective, where the voice may bring to consciousness the repressed fears and desires of the unconscious. The liminal phase of ritual performance is a time of inherent possibility, where the usual social structures are inverted or subverted, but the liminal is ultimately temporary and conservative. Victor Turner suggests the concept of the ‘liminoid’ as a more transgressive alternative to the liminal, allowing for permanent and lasting social change. It may be in the liminoid realm of avant-garde performance that voices can be reimagined inside the frame of performance, as a means of exploring new forms of expression in life.
    [Show full text]
  • A Perspective of New Simplicity in Contemporary Composition: Song of Songs As a Case Study Isabel Maria Pereira Barata Da Rocha
    MESTRADO COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha MESTRADO M COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha Dissertação apresentada à Escola Superior de Música e Artes do Espetáculo como requisito parcial para obtenção do grau de Mestre em Composição e Teoria Musical Professor Orientador Professor Doutor Eugénio Amorim Professora Coorientadora Professora Doutora Daniela Coimbra 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Dedico este trabalho a todos os homens e todas as mulheres de boa vontade. A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Agradecimentos À minha filha Luz, que me dá a felicidade de ser sua mãe, pelo incentivo. Aos meus pais Ana e Luís, pelo apoio incondicional. A Ermelinda de Jesus, pela ajuda sempre disponível. À Fátima, à Joana e à Mariana, pela amizade profunda. Ao José Bernardo e aos avós Teresa e António José, pelo auxílio. Ao Pedro Fesch, pela compreensão e pela aposta na formação dos professores em quem confia.
    [Show full text]
  • Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM
    Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. CENTER FOR THE ARTS AT VIRGINIA TECH presents POWAQQATSI LIFE IN TRANSFORMATION The CANNON GROUP INC. A FRANCIS FORD COPPOLA and GEORGE LUCAS Presentation Music by Directed by PHILIP GLASS GODFREY REGGIO Photography by Edited by GRAHAM BERRY IRIS CAHN/ ALTON WALPOLE LEONIDAS ZOURDOUMIS Performed by PHILIP GLASS and the PHILIP GLASS ENSEMBLE conducted by Michael Riesman with the Blacksburg Children’s Chorale Patrice Yearwood, artistic director PHILIP GLASS ENSEMBLE Philip Glass, Lisa Bielawa, Dan Dryden, Stephen Erb, Jon Gibson, Michael Riesman, Mick Rossi, Andrew Sterman, David Crowell Guest Musicians: Ted Baker, Frank Cassara, Nelson Padgett, Yousif Sheronick The call to prayer in tonight’s performance is given by Dr. Khaled Gad Music Director MICHAEL RIESMAN Sound Design by Kurt Munkacsi Film Executive Producers MENAHEM GOLAN and YORAM GLOBUS Film Produced by MEL LAWRENCE, GODFREY REGGIO and LAWRENCE TAUB Production Management POMEGRANATE ARTS Linda Brumbach, Producer POWAQQATSI runs approximately 102 minutes and will be performed without intermission. SUBJECT TO CHANGE PO-WAQ-QA-TSI (from the Hopi language, powaq sorcerer + qatsi life) n. an entity, a way of life, that consumes the life forces of other beings in order to further its own life. POWAQQATSI is the second part of the Godfrey Reggio/Philip Glass QATSI TRILOGY. With a more global view than KOYAANISQATSI, Reggio and Glass’ first collaboration, POWAQQATSI, examines life on our planet, focusing on the negative transformation of land-based, human- scale societies into technologically driven, urban clones.
    [Show full text]
  • Hiroya Miura
    CURRICULUM VITAE HIROYA MIURA Department of Music 30 Preble Street, #253 Bates College Portland, ME 04101 75 Russell Street Mobile Phone: (917) 488-4085 Lewiston, ME 04240 [email protected] http://www.myspace.com/hiroyamusic EDUCATION 2007 D.M.A. (Doctor of Musical Arts) in Composition Graduate School of Arts and Sciences Columbia University, New York, NY Advisor: Professor Fred Lerdahl Dissertation: Cut for Satsuma Biwa and Chamber Orchestra 2001 M.A. in Composition Graduate School of Arts and Sciences Columbia University, New York, NY 1998 B.Mus. in Composition (Honors with Distinction) Faculty of Music McGill University, Montréal, QC 1995 D.E.C. (Diplôme d’études collégiales) in Pure and Applied Sciences Marianopolis College, Montréal, QC TEACHING EXPERIENCE 2005-Present Bates College Assistant Professor of Music Conductor of College Orchestra Courses Taught: Music Theory I, Music Theory III and IV, Music Composition, Music and Cinema, Introduction to Listening, Orchestration, Undergraduate Theses in Composition 1999-2005 Columbia University Teaching Fellow (2002-2005), Assistant Conductor of University Orchestra (1999-2002) Courses Taught: Introductory Ear Training (Instructor), Chromatic Harmony and Advanced Composition (Teaching Assistant) Hiroya Miura Curriculum Vitae CONDUCTING / PERFORMANCE EXPERIENCE Calling ---Opera of Forgiveness---* Principal Conductor Electronic Quartet with Jorge Sad, Santiago Diez, and Matias Giuliani at CCMOCA* No-Input Mixer performer Bates College Orchestra Music Director/ Principal Conductor Columbia
    [Show full text]
  • Playing It Unsafe ABOUT PLAYING IT UNSAFE Anna Clyne: Tender Hooks
    american composers orchestra world premiere recording Clyne • Dawe McGowan Mason • Trueman Playing It UNsafe ABOUT PLAYING IT UNSAFE Anna Clyne: Tender Hooks “Tender Hooks” is an experimental work cre- Playing It UNsafe, is the first professional ated by collaborators Anna Clyne, Jeremy research and development lab to support Flower and Joshue Ott. The work stretches the the creation of cutting-edge new American orchestra by means of live electronics and live orchestral music. Through no-holds-barred visuals, creating a synergistic audio and visual experimentation, it encourages composers experience. to do anything but “play it safe.” “Tender Hooks” features technologies and Anna Clyne, Jonathan Dawe, Ned McGowan, instruments created and developed by the Charles Norman Mason, and Dan Trueman, laptop-artists themselves. Flower performs were selected from a national search for with digital source sounds, custom-made their willingness to experiment and stretch instruments, and the orchestra as a source for their own musical sensibilities, and their live processing. Ott performs with his super- ability to test the limits of the orchestra. Draw software, created for live visual expres- Playing It UNsafe grew out of American sion. For this live recording, Ott and Flower Composers Orchestra’s (ACO) ongoing mis- linked their computers to transmit live data sion to commission and perform new music and to receive live data from the orchestra. that expands the range of possibilities for – Clyne’s score is specifically composed for these ACO Music Director George Manahan says, and challenges conventional notions about two solo artists with orchestra – each element “Orchestra commissions are usually about – orchestral music.
    [Show full text]
  • Chapter Three Minimal Music
    72 Chapter Three Minimal music This chapter begins with a brief outline of minimal music in the United States, Europe and Australia. Focusing on composers and stylistic characteristics of their music, plus aspects of minimal music pertinent to this study, it helps the reader situate the compositions, composers and events referred to throughout the thesis. The chapter then outlines reasons for engaging students aged 9 to 18 years in composing activities drawn from projects with minimalist characteristics, reasons often related to compositional or historical aspects of minimal music since the late 1960s. A number of these reasons are educational, concerned with minimalism as an accessible teaching resource that draws on students’ current musical knowledge and offers a bridge from which to explore musics of other cultures and other contemporary art musics. Other reasons are concerned with the performance capabilities of students, with the opportunity to introduce students to a contemporary aesthetic, to different structural possibilities and collaboration and subject integration opportunities. There is also an educational need for a study investigating student composing activities to focus on these activities in relation to contemporary art music. There are social reasons for engaging students in minimalist projects concerned with introducing students to contemporary arts practice through ‘the new tonality’, involving students with a contemporary music which is often controversial, and engaging students with minimalism at a time of particular activity and expansion in the United States and in Australia. 3.1 Minimalism Minimalism is an aesthetic found across a number of different art forms – architecture, dance, visual art, theatre, design and music - and at the beginning of the twenty-first century, it is still strongly influential on many contemporary artists.
    [Show full text]
  • Lincoln Center Festival 2012 Sponsor
    Nonprofit Organization U.S. Postage PAID Lincoln Center for the Performing Arts July 5–August 5, 2012 70 Lincoln Center Plaza New York, NY 10023-6583 July 5–August 5, 2012 Tickets On Sale Now! LincolnCenterFestival.org 212.721.6500 Mikhail Baryshnikov and Paris Opera Ballet—Giselle Alan Cumming—Macbeth Cate Blanchett and Anna Sinyakina—In Paris Richard Roxburgh—Uncle Vanya cover artwork by Luciano De Liberato, photo by Gino Di Paolo, RED, 2003, acrylic on canvas, 31.5 x 31.5 in. Lincoln Center Festival 2012 Sponsor Major Support The Andrew W. Mellon Foundation JULY 11–22 Supporters Nancy A. Marks “For those who live for ballet virtuosity, LuEsther T. Mertz Charitable Trust this is the company to see.” China International Culture Association The Skirball Foundation —New York Times The Harold & Mimi Steinberg Charitable Trust The Katzenberger Foundation, Inc. The Shubert Foundation Jennie and Richard DeScherer The Grand Marnier Foundation The Andrea and Charles Bronfman Philanthropies The Joelson Foundation The Harkness Foundation for Dance Georges Lurcy Charitable and Educational Trust Mitsui USA Foundation Great Performers Circle Chairman’s Council Producers Circle Friends of Lincoln Center Public support is provided by New York City Department of Cultural Affairs New York State Council on the Arts National Endowment for the Arts Endowment support is provided by Doris Duke Charitable Foundation Nancy Abeles Marks National Sponsor of Lincoln Center Official Sponsor of Lincoln Center Official Airline of Lincoln Center Official Broadcast Partner of Lincoln Center Official Wine of Lincoln Center Celebrate Summer at Lincoln Center Artist Catering Provider Orpheus and Eurydice 212.721.6500 1 Boléro Giselle Orpheus and Eurydice The legendary Paris Opera Ballet, the oldest national ballet company in the world and the one that literally invented the form, gives its first New York performances in more than 15 years.
    [Show full text]
  • A Liturgy for Maundy Thursday
    A Liturgy for Maundy Thursday Entrance Song to Athene Sir John Tavener Penitential Order Officiant Blessed be the God of our salvation: People Who bears our burdens and forgives our sins. Officiant Since we have a great high priest who has passed through the heavens, Jesus, the Son of God, let us with confidence draw near to the throne of grace, that we may receive mercy and find grace to help in time of need. Hebrews 4:14,16 Confession The Deacon then says Let us confess our sins against God and our neighbor. Silence may be kept. All God of all mercy, we confess that we have sinned against you, opposing your will in our lives. We have denied your goodness in each other, in ourselves, and in the world you have created. We repent of the evil that enslaves us, the evil we have done, and the evil done on our behalf. Forgive, restore, and strengthen us through our Savior Jesus Christ, that we may abide in your love and serve only your will. Amen. The Priest says Almighty God have mercy on you, forgive you all your sins through our Lord Jesus Christ, strengthen you in all goodness, and by the power of the Holy Spirit keep you in eternal life. Amen. The Trisagion (Sung three times) Cantor Holy God, Holy and Mighty, Holy Immortal One, All Have mercy upon us. Interlude Trisagion Sir John Tavener Collect of the Day BCP 274 Celebrant Hear our cry, O God! People And listen to our prayer. Celebrant Let us pray.
    [Show full text]