Calendar 2010 H.Indd 1 2010-09-23 15:54:25 2010–2011
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Philharmonie Luxembourg Salle de Concerts Grande-Duchesse Joséphine-Charlotte Saison 2008/09 1 Partenaires d’événements: Nous remercions nos partenaires qui en Partenaires de programmes: associant leur image à la Philharmonie et en soutenant sa programmation, permettent sa diversité et l’accès à un public plus large. pour «Jeunes publics» pour «Backstage» Partenaires média: Partenaires officiels: 2 Sommaire / Inhalt / Content IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Philharmonie Luxembourg Jazz, World & Easy listening Orchestre Philharmonique du Luxembourg Cycle Philharmonique I 140 Salle de Concerts Grande-Duchesse Jazz & beyond 66 Cycle Philharmonique II 142 Joséphine-Charlotte – Saison 2008/09 Autour du monde 74 Amis de l’Orchestre Philharmonique du Ciné-Concerts 80 Luxembourg 144 Bienvenue / Willkommen / Welcome 4 Pops 84 Chill at the Phil 88 Solistes Européens, Luxembourg 146 European Music Academy, Schengen 150 Soirées de Luxembourg 152 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Orchestre Special «Les Musiciens» – Orchestre de Chambre du Luxembourg 154 Grands orchestres 16 Luxembourg Festival 94 Grands solistes 20 Musiques d’aujourd’hui 96 L’Orchestral 24 On the border -
The Om Composer's Book
THE OM COMPOSER’S BOOK Volume 3 Edited by Jean Bresson, Carlos Agon, Gérard Assayag Preface by Roger Dannenberg Collection Musique/Sciences Musique/Sciences Editorial Board Carlos Agon, UMR STMS Ircam/CNRS/UPMC, Paris Gérard Assayag, UMR STMS Ircam/CNRS/UPMC, Paris Marc Chemillier, Ecole des Hautes Etudes en Sciences Sociales, Paris Ian Cross, University of Cambridge Philippe Depalle, McGill University, Montréal Xavier Hascher, University of Strasbourg Alain Poirier, Conservatoire National Supérieur de Musique et de Danse, Paris Miller Puckette, University of California, San Diego Hugues Vinet, UMR STMS Ircam/CNRS/UPMC, Paris Communication Marine Nicodeau Editions Claire Marquet Cover design BelleVille Volume editor Jean Bresson Editorial coordination and support Aaron Einbond Tous droits de traduction, d’adaptation et de reproduction par tous procédés réservés pour tous pays. Le code de la propriété intellectuelle du 1er juillet 1992 n’autorise, aux termes de l’article L. 122-5, 2e et 3e a), d’une part, « que les copies ou reproductions strictement réservées à l’usage du copiste et non destinées à une utilisation collective » et, d’autre part, « que les analyses et les courtes citations dans un but d’exemple et d’illustration ». « Toute représentation ou reproduction intégrale ou partielle, faite sans le consentement de l’auteur ou ayant cause, est illicite » (article L.122-4). Cette représentation ou reproduction par quelque procédé que ce soit constituerait donc une contrefa¸onsanctionnée par les articles L. 335-2 et suivants du Code -
Comp. 09 Program Layout.Cwk
T h i r t y - S e c o n d S e a s o n 2 0 0 9 - 2 0 1 0 Celebrating Lukas Tuesday, March 2, 2010, 7:30 p.m. Free admission Alea III celebrates the life and work of Lukas Foss, a great master, with an evening devoted exclusively to his music. ALEA III Echoi For Toru Elegy for Anne Frank For Aaron Plus Theodore Antoniou, Eighteen Epigrams Music Director a new work written by Lukas Foss’s students: Apostolos Paraskevas, Panos Liaropoulos, Michalis Economou, Jakov Jakoulov, Contemporary Music Ensemble Mark Berger, Frank Wallace, Ronald G. Vigue, Julian Wachner, Jeremy Van Buskirk, in residence at Mauricio Pauly, Matt Van Brink, Ivana Lisak, Ramon Castillo, Pedro Malpica, Boston University Paul Vash, Po-Chun Wang, Margaret McAllister, Sunggone Hwang. Theodore Antoniou, conductor Saxes and Horns Wednesday, April 28, 2010, 7:30 p.m. Free admission 27th International Composition Works of unusual instrumentation, featuring 18 saxophones Competition and 9 French horns. Pierre Boulez Dialogue de l’ombre double Theodore Antoniou Music for Nine Gunther Schuller Perpetuum Mobile Sofia Gubaidulina Duo TSAI Performance Center Georgia Spiropoulos Rotations October 4, 2009, 7:00 pm Eric Hewitt la grenouille Eric Ruske, horn, Tsuyoshi Honjo, Eric Hewitt and Jared Sims, saxophones Special guest: Radnofsky Saxophone Ensemble Eric Hewitt, conductor Sponsored by Boston University and the George Demeter Realty. BOARD OF DIRECTORS BOARD OF ADVISORS OUR NEXT ALEA EVENTS President George Demeter Mario Davidovsky Hans Werner Henze Generations Chairman Milko Kelemen André de Quadros Oliver Knussen Monday, November 16, 2009, 7:30 p.m. -
Symmetry and Proportion: How These Issues Guide, Inform and Add Coherence to Musical Composition
Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. Ribeiro, H. (2011) Symmetry and proportion: how these issues guide, inform and add coherence to musical composition. Ph.D. thesis, Canterbury Christ Church University. Contact: [email protected] Symmetry and Proportion: How These Issues Guide, Inform and Add Coherence to Musical Composition by Hugo Ribeiro Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2011 Abstract The central subject of this thesis is the application of the concepts of symmetry and proportion in music and how these can be used to generate original compositions. Information about the musical application regarding concepts of symmetry and proportion both in the twentieth-century and earlier is provided. The first section also offers additional information about the construction of symmetrical harmony and its common usage; here too, principles of intervallic proportion are explained based on the compositional thinking of English composer Christopher Bochmann. -
Williams Percussion Ensemble Noise/Signal
Williams Percussion Ensemble Noise/Signal We call “noise” any undesirable signal in the transmission of a message through a channel, and we use this term for all types of perturbation, whether the message is sonic or visual. Thus shocks, crackling, and atmospherics are noises in radio transmission. A white or black spot on a television screen, a gray fog, some dashes not belonging to the transmitted message, a spot of ink on a newspaper, a tear in a page of a book, a colored spot on a picture are “noises” in visual messages. A rumor without foundation is a “noise” in a sociological message. At first sight, it may seem that the distinction between “noise” and “signal” is easily made on the basis of the distinction between order and disorder. A signal appears to be essentially an ordered phenomenon while crackling, or atmospherics, are disordered phenomena, formless blotches on a structured picture of sound. However, there is no absolute structural difference between noise and signal. They are of the same nature. The only difference which can be logically established between them is based exclusively on the concept of intent on the part of the transmitter: A noise is a signal that the sender does not want to transmit. Or, more generally: A noise is a sound we do not want to hear. — Abraham Moles, from Information Theory and Esthetic Perception In the ordered world of Western art music, percussion has long been employed to bring in the noise. The bulk of the percussion family is in fact comprised of instruments that produce noise rather than tone. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
Some Preliminary Thoughts on Chiyoko Szlavnics' Music
Some Preliminary Thoughts on Chiyoko Szlavnics’ Music Makis Solomos To cite this version: Makis Solomos. Some Preliminary Thoughts on Chiyoko Szlavnics’ Music. Πoλυϕωνια, Athens, 2015. hal-01202895 HAL Id: hal-01202895 https://hal.archives-ouvertes.fr/hal-01202895 Submitted on 21 Sep 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Some Preliminary Thoughts on Chiyoko Szlavnics’ Music Makis Solomos Listening to Chiyoko Szlavnics’ music opens up broad questions having to do with music, aesthetics, and human existence. The Canadian composer achieves significant depth in dealing with these questions in a variety of works, including chamber-orchestra music—Heliotrope (2007); pieces with electronics—Constellations I–III for piano and sine waves (2011); chamber music, such as the recordings collected here; and multichannel sound installations. Her compositions also vary widely in duration, ranging from short pieces, such as the five-minute-long chamber-orchestra piece Wind in the Ceiling (2004–2005), to longer ones, such as the forty-five-minute Interior Landscapes II A for sine waves (2010). Chiyoko Szlavnics clearly positions herself within the recent North American tradition of such composers as Morton Feldman and James Tenney (Szlavnics studied with Tenney)—a practice that eschews the old tradition of development, replacing it instead with a new world of "immersion in sound". -
Asian Heritage Month Festival 2018 Concert Artists
Asian Heritage Month Festival 2018 Concert and Arts Showcase Artistic Directors Chan Ka Nin Chan Ka Nin is a distinguished Canadian composer whose extensive repertoire draws on both East and West in its aesthetic outlook. Professor of Theory and Composition at the University of Toronto, he has written in most musical genres and received many national and international prizes, including two JUNO awards, the Jean A. Chalmers Award, the Béla Bartók International Composers' Competition in Hungary, and the Barlow International Competition in the United States. In 2001 he won the Dora Mavor Moore Award for Outstanding Musical for his opera Iron Road, written with librettist Mark Brownell, depicting the nineteenth century construction of the Canadian National Railway by Chinese migrant labourers. Characteristically luminous in texture and exotic in instrumental colours, Prof. Chan's music has been described by critics as "sensuous," "haunting" and "intricate." The composer often draws his inspiration directly from his personal experiences: for example, the birth of one of his daughters, the death of his father, his spiritual quests, or his connection to nature and concern for the environment. Many prominent ensembles and soloists have performed his music, including the Toronto Symphony, National Arts Centre Orchestra, Hong Kong Philharmonic, Calgary Philharmonic, Nova Scotia Symphony, Esprit Orchestra, Manitoba Chamber Orchestra, Amici Ensemble, Gryphon Trio, Miró Quartet, St. Lawrence Quartet, Purcell Quartet, Amherst Saxophone Quartet, violist Rivka Golani, and oboist Lawrence Cherney. His substantial discography includes releases on the CBC, Centrediscs, ATMA, Analekta, Albany, and Summit labels, among others. Born and raised in Hong Kong, Mr. Chan holds twin undergraduate degrees in electrical engineering and music from the University of British Columbia, where he studied composition with Jean Coulthard. -
Justyna Kowalska-Lasoń
Polish contemporary music magazine NO. 7(14), SEPTEMBER 2012 | ISSN 2080-4598 “I’m not convinced as to whether an artist should ever grow up...” A conversation with Justyna Kowalska-Lasoń Anna Domańska Photo: M. Filipczyk CONTENTS: “ s an introverted personality type, Justyna Kowalska-Lasoń: The album Śpie- she exudes no ideas, on the wam nowoczesnego człowieka [The Modern 1-4 The fi rst monographic album of A contrary – the listener feels he Man I Sing], consists of compositions that Justyna KOWALSKA-LASOŃ has been shown just part of her secret, constitute the most important points in my deliberately limiting resources and creative journey so far. The order the works 4 Paweł ŁUKASZEWSKI’s “Symphony focusing on the power of expression”, have been arranged in is crucial in relation of Angels” in Riga Joanna Wnuk-Nazarowa said of the to the dramaturgy. It all begins with a huge young composer. Words of appreciation blast of a symphony orchestra (The Mod- 5-7 Zbigniew BARGIELSKI – for Justyna Kowalska-Lasoń from the ern Man I Sing). Next, through the sound a prestidigitator and a mystic mouths of music authorities are not of a mixed choir (Sanctus) we come to the uncommon. Polish critics point out the smallest group – a string quartet of a hushed 8-10 The inspiring Tatra Mountains exceptional maturity of her music, great character (A light exists in Spring). Then, the technical craftsmanship and individualism, power of the sound increases gradually 11-13 The operas of Zygmunt KRAUZE while the 27-year-old Justyna believes in again – from a string orchestra (Te frazy...Te the power of her creative intuition and pieśni...Te arie...) to a large symphony orches- 13 Wojciech KILAR’s fi lm music live in wins yet another prize in a composition tra (Obraz 1929 – Zdzisław Beksiński in memo- Kraków competition. -
Registre-Deontologie-Gouv.Pdf
Registre public tenu en vertu de l’article 18 de l’arrêté grand-ducal modifié du 14 novembre 2014 fixant les règles déontologiques des membres du Gouvernement et leurs devoirs et droits dans l’exercice de la fonction Ministre/Secrétaire d'Etat Date Donateur Fonction Occasion Description Valeur en EUR Xavier BETTEL, Premier Ministre 2014 24.02.2014 Sheikh Ali Bin Jassim Al-Thani Ambassadeur de l'Etat du Qatar Visite à Luxembourg Bateau miniature en bois, essences Public Vêtement traditionnel 02.-05.03.2014 Gouvernements du Portugal et du Visites Cap Vert: Public Cap Vert Clé de la Ville de Praia Peinture d'un artiste local (non encadrée) Tapisserie/Batique Boîte avec divers objets d'art Portugal: Écharpe traditionnelle 24.03.2014 M. Milo Đukanović Premier Ministre du Montenegro Visite à Luxembourg Sculpture d'un poste de garde Public traditionnel 16.06.2014 Sheikh Zayed Al Nahyan Ministre des Affaires étrangères des Etats Visite à Luxembourg Livre sur la Grande Mosquée Public Arabes Unis 07.08.2014 Mme Julia Klöckner Présidente de la fraction CDU du Parlement Visite à Luxembourg Livre de Mme Klöckner + bouteille Public de Rhénanie-Palatinat de vin 02.09.2014 M. Mohammad Javad Zarif Ministre des Affaires étrangères de la Visite à Luxembourg Horloge Public République islamique d'Iran 04.-05.09.2014 Organisateur du Sommet Sommet OTAN Celtic Manor Wales Ballon de Rugby + produits locaux Public 17.09.2014 M. Didier Burkhalter Président de la Confédération suisse Visite à Berne Montre Public 23.-28.09.2014 M. Alassane Ouattara Président de la République de Côte d'Ivoire Assemblée générale ONU à New York Set d'instrument de mesure de poids Public traditionnel (encadré) 30.09.2014 M. -
August 2016 1 Periodical Postageperiodical Paid at Boston, New York
SHOULD YOU HIRE A PROFESSIONAL GENEALOGIST?POLISH AMERICAN — JOURNAL PAGE 15• AUGUST 2016 www.polamjournal.com 1 PERIODICAL POSTAGE PAID AT BOSTON, NEW YORK NEW BOSTON, AT PAID PERIODICAL POSTAGE POLISH AMERICAN OFFICES AND ADDITIONAL ENTRY DEDICATED TO THE PROMOTION AND CONTINUANCE OF POLISH AMERICAN CULTURE JOURNAL AN ESSENTIAL EDITION: FROM PADEREWSKI TO ESTABLISHED 1911 AUGUST 2016 • VOL. 105, NO. 8 | $2.00 www.polamjournal.com PENDERECKI — PAGE 6 WHAT BREXIT MAY MEAN FOR POLAND • GET READY FOR POLISH HERITAGE MONTH • CATHOLIC LEAGUE APPEAL HEADING INTO THE FUTURE • FAREWELL TO AMBASSADOR SCHNEPF • AN AMERICAN FACE IN POLISH POLITICS BISHOP ZUBIK AND GUN CONTROL • THE WOMEN OF THE UPRISING • CHICAGO’S POLISH POPULATION CHANGE NATO Summit — a Major Breakthrough Polish Newsmark Communities RUSSIA USES NATO SCARES TO KEEP ITS PEOPLE in UK Targeted IN LINE – FOREIGN MINISTER. The Russian leadership rejects all explanations that NATO is a defensive alliance with Abuse that poses no threat to Russia, because the Kremlin needs a state of confl ict for domestic political purposes, Polish After Brexit Foreign Minister Witold Waszczykowski said during the LONDON — The Pol- North Atlantic Alliance’s recent Warsaw summit. “If the ish embassy in London said Kremlin told citizens of the Russian Federation, there was it was deeply concerned by no longer any threat of a NATO invasion, people would what it said were recent in- soon start pressing for a better life and more freedom,” he cidents of xenophobic abuse explained. “Considering Russia’s great mineral wealth, it directed against the Polish could be one of the world’s richest countries were it not for community since Britain all the corruption.” voted to leave the European Union. -
Aki Takahashi, Piano
The Institute for the Arts, Rice University, with the Shepherd School of Music, presents, in a recital devoted to contemporary composers, Aki Takahashi, piano HAMMAN HALL, RICE UNIVERSITY, HOUSTON FRIDAY MAY 6, 1983 8 PM Gen. Admission: $5 For ticket information, call 522-0886, Rice Museum. PROGRAM AT HAMMAN HALL, RICE UNIVERSITY, MAY 6, 1983 John Cage, Dream (1948); Toru Takemitsu, Rain Tree Sketch (1982); Toshi Ichiyanagi, Piano Media (1972); Frederic Rzewski, Winnsboro Cotton Mill Blues (1979); Intermission; Morton Feldman, Piano (1977); lannis Xenakis, Herma (1961). AKI TAKAHASHI: REVIEW EXCERPTS "She is in full command of that tension of precise rhythmic phrasing and of that relaxation of masterful control which makes her interpretation also into a kind of spiritual exercise." -Jurg Bachman, Basler Zeitung "Aki Takahashi confronts all the technical difficulties amassed by the composers of today, but beyond that she has a natural calm, a freshness, a spontaneity that humanizes and gives warmth to all that she touches." -Maurice Fleuret, Diapason "The first impression is of a beautiful, clear touch .... highly individual:' -Hidekazu Yoshida, Asahi Shinbun "It was extraordinary to find how seriously Aki Takahashi is committed to the work of the new Japanese composers. She is really a fabulous pianist." -Wolfgang Schultze, Berliner Morgenpost "The small, seemingly demure artist with her shy smile and reticent manner is one of the truly daunting pianists of her time. She has all kinds of stamina, reserves of power and a genuinely big technique, but overridingly a capacious and sensitive musical mind." -John Dwyer, Buffalo Evening News -- RICE MUSEUM, RICE UNIVERSITY Non-Profit Org.