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This is America! Meredith Monk (b. 1942) 1 Ellis Island 3’02 Leonard Bernstein (1918-1990) Symphonic Dances from West Side Story (transcription: John Musto) 2 Prologue 4’18 3 Somewhere 4’29 4 Mambo 2’19 5 Cha-Cha 1’02 6 Meeting Scene 0'41 7 Cool 0’38 8 Fugue 3’02 9 Rumble 2’01 10 Finale 2’27 Philip Glass (b. 1937) Four Movements for Two Pianos 11 Movement 1 6’21 12 Movement 2 4’49 13 Movement 3 6’19 14 Movement 4 5’30 John Adams (b. 1947) Hallelujah Junction 15 Movement 1 6’43 16 Movement 2 2’52 17 Movement 3 5’58 TT: 62’34 3 THIS IS AMERICA! | VANESSA WAGNER & WILHEM LATCHOUMIA Entretien avec Vanessa Wagner et Wilhem Latchoumia Apparu au milieu des années 60 aux États-Unis, le courant minimaliste a longtemps tutoyé l’avant-garde avant de gagner, au fil des ans, une audience beaucoup plus large et de s’imposer comme une étape majeure de la musique contemporaine. Terry Riley, La Monte Young, Steve Reich et Philip Glass, tous américains, sont considérés comme les pionniers de ce courant. Si beaucoup de ces compositeurs contestent l’étiquette minimaliste, réductrice à leurs yeux, leur approche se rejoint dans la recherche de nouvelles structures musicales, comme l’emploi de motifs répétitifs, une certaine forme de dépouillement et l’emploi de certains procédés spécifiques (la technique de « phasing » de Reich, utilisant simultanément des enregistrements avec un léger décalage). Les minimalistes ont intégré de nombreuses influences pour nourrir leur travail, le jazz et l’improvisation pour Terry Riley, la mouvance expérimentale pour La Monte Young, la musique indienne pour Philip Glass, les cultures africaines pour Steve Reich. -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
Liner Notes, Visit Our Web Site: Recording: March 22, 2012, Philharmonie in Berlin, Germany
21802.booklet.16.aas 5/23/18 1:44 PM Page 2 CHRISTIAN WOLFF station Südwestfunk for Donaueschinger Musiktage 1998, and first performed on October 16, 1998 by the SWF Symphony Orchestra, conducted by Jürg Wyttenbach, 2 Orchestra Pieces with Robyn Schulkowsky as solo percussionist. mong the many developments that have transformed the Western Wolff had the idea that the second part could have the character of a sort classical orchestra over the last 100 years or so, two major of percussion concerto for Schulkowsky, a longstanding colleague and friend with tendencies may be identified: whom he had already worked closely, and in whose musicality, breadth of interests, experience, and virtuosity he has found great inspiration. He saw the introduction of 1—the expansion of the orchestra to include a wide range of a solo percussion part as a fitting way of paying tribute to the memory of David instruments and sound sources from outside and beyond the Tudor, whose pre-eminent pianistic skill, inventiveness, and creativity had exercised A19th-century classical tradition, in particular the greatly extended use of pitched such a crucial influence on the development of many of his earlier compositions. and unpitched percussion. The first part of John, David, as Wolff describes it, was composed by 2—the discovery and invention of new groupings and relationships within the combining and juxtaposing a number of “songs,” each of which is made up of a orchestra, through the reordering, realignment, and spatial distribution of its specified number of sounds: originally between 1 and 80 (with reference to traditional instrumental resources. -
Ballades À Cor Perdu
JEUDI 12 ET VENDREDI 13 MARS 2020 20H PMC - SALLE ÉRASME BALLADES À COR PERDU SMETANA DIRECTION La Fiancée vendue, CORNELIUS MEISTER ouverture COR MOZART STEFAN DOHR Concerto pour cor n°4 en mi bémol majeur K 495 VON ZEMLINSKY Die Seejungfrau BEDRICHˇ SMETANA (1824-1884) La Fiancée vendue, ouverture (1866) 6’ WOLFGANG AMADEUS MOZART (1756-1791) Concerto pour cor n°4 en mi bémol majeur K. 495 (1786) 17’ I. Allegro moderato II. Romanza : Andante III. Rondo : Allegro vivace ALEXANDER VON ZEMLINSKY (1871-1942) Die Seejungfrau, fantaisie d'après le conte d’Hans Christian Andersen (1905) 45’ I. Sehr mässig bewegt II. Sehr bewegt, rauschend III. Sehr gedehnt, mit schmerzvollem Ausdruck DIRECTION CORNELIUS MEISTER COR STEFAN DOHR 2 À l’origine, Stefan Dohr apprend l’alto et, après avoir entendu le célèbre corniste Hermann Baumann, il en conclut que « ce cor sonne mieux que mon alto ». Aujourd’hui, Stefan est le cor solo de l’Orchestre philharmonique de Berlin. À Strasbourg, il montrera toute l’étendue de son talent en interprétant Mozart. Cornelius Meister dirigera l’une des plus belles œuvres de Zemlinsky que l’on entend peu en concert, Die Seejungfrau (La Sirène) d’après le conte d’Andersen. Armin Jordan l’avait révélée au public strasbourgeois en 2002. 3 Smetana fut l’un des artisans de l’émergence d’une musique natio- nale tchèque et signa l’un des pre- miers chœurs en langue tchèque : La Chanson tchèque en 1860. Ce musicien-citoyen conçut son métier comme une mission patriotique, se dévouant à l’enseignement et, à partir de 1861, exclusivement au Théâtre national. -
Toccata Classics TOCC0024 Notes
P JULIUS RÖNTGEN, CHAMBER MUSIC, VOLUME ONE – WORKS FOR VIOLIN AND PIANO I by Malcolm MacDonald Considering his prominence in the development of Dutch concert music, and that he was considered by many of his most distinguished contemporaries to possess a compositional talent bordering on genius, the neglect that enveloped the huge output of Julius Röntgen for nearly seventy years after his death seems well-nigh inexplicable, or explicable only to the kind of aesthetic view that had heard of him as stylistically conservative, and equated conservatism as uninteresting and therefore not worth investigating. The recent revival of interest in his works has revealed a much more complex picture, which may be further filled in by the contents of the present CD. A distant relative of the physicist Conrad Röntgen,1 the discoverer of X-rays, Röntgen was born in 1855 into a highly musical family in Leipzig, a city with a musical tradition that stretched back to J. S. Bach himself in the first half of the eighteenth century, and that had been a byword for musical excellence and eminence, both in performance and training, since Mendelssohn’s directorship of the Gewandhaus Orchestra and the Leipzig Conservatoire in the 1830s and ’40s. Röntgen’s violinist father Engelbert, originally from Deventer in the Netherlands, was a member of the Gewandhaus Orchestra and its concert-master from 1873. Julius’ German mother was the pianist Pauline Klengel, sister of the composer Julius Klengel (father of the cellist-composer of the same name), who became his nephew’s principal tutor; the whole family belonged to the circle around the composer and conductor Heinrich von Herzogenberg and his wife Elisabet, whose twin passions were the revival of works by Bach and the music of their close friend Johannes Brahms. -
A NOTE from Johnstone-Music
A NOTE FROM Johnstone-Music ABOUT THE MAIN ARTICLE STARTING ON THE FOLLOWING PAGE: We are pleased for you to have a copy of this article, which you may read, print or saved on your computer. These presentations can be downloaded directly. You are free to make any number of additional photocopies, for Johnstone-Music seeks no direct financial gain whatsoever from these articles (and neither too the writers with their generous contributions); however, we ask that the name of Johnstone-Music be mentioned if any document is reproduced. If you feel like sending any (hopefully favourable!) comment visit the ‘Contact’ section of the site and leave a message with the details - we will be delighted to hear from you! SPECIAL FEATURE on JOHN FOULDS .. Birth: 2nd November 1880 - Hulme, Manchester, England Death: 25th April 1939 - Delhi, India .. .. Born into a musical family, Foulds learnt piano and cello from a young age, playing the latter in the Hallé Orchestra from 1990 with his father, who was a bassoonist in the same orchestra. He was also a member of Promenade and Theatre bands. .. Simultaneously with cello career he was an important composer of theatre music. Notable works for our instrument included a cello concerto and a cello sonata. Suffering a setback after the decline in popularity of his World Requiem (1919–1921), he left London for Paris in 1927, and eventually travelled to India in 1935 where, among other things, he collected folk music, composed pieces for traditional Indian instrument ensembles, and worked as Director of European Music for All-India Radio in Delhi. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
To Download the Full Archive
Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No. -
Chorus Presents Awards Four Reporters, Or Put a Note in the Newsletter Envelope on the Chorus in September 1989, the Houston Tony Vasquez (Tl) and J
Newsletter of The Houston Symphony Chorus Vol. 1 No. 1 October 1989 From The Editor by Sally I. Evans Welcome to Volume 1, Number 1 of The Houston Symphony Chorus newsletter, SING OUT . The purpose of this quarterly pubUcation is to help us get to know each other and to provide information about chorus life. You can expect anything from who had a baby to how to get the most from rehearsal. Some of it will be interesting; some, humor ous; some, "good for you," as your mother used to say. But don't expect it to tackle issues in only two or four pages every three months. If you are interested in knowing more about a particular subject that affects the chorus, or if you have news about your own or another member's activities that might inter est everyone, tell me or one of our Chorus Presents Awards four reporters, or put a note in the newsletter envelope on the chorus In September 1989, The Houston Tony Vasquez (Tl) and J. Warren bulletin board. Be sure to include Symphony Chorus presented service Thompson (Bl). In the 15-ycar your section along with your name. award pins to 30 members. These category were Mary Nepveux (82), Each issue will be distributed at awards are gjven annually to Augusta Levine (82), Antoinette rehearsal, with copies mailed to recognize outstanding attendance Boecker (Al), Nancy Hawley (A2) singers who are on leave. The at rehearsal and performances. and John Grady (Tl). The fmi editor's and the reporters' time is Because of chorus staff changes, the category of 20-year pin recipients donated. -
LONDON METROPOLITAN ARCHIVES BARBICAN CLA/072 Page
LONDON METROPOLITAN ARCHIVES Page 1 BARBICAN CLA/072 Reference Description Dates PRINTED REPORTS CLA/072/01/001 Scheme submitted by the New Barbican 2.12.1954 Committee for the Area North of Route 11. 1 pamphlet Former reference: A5/E COL/PLD/TP/05/008 CLA/072/01/002 Scheme submitted by the New Barbican 26.9.1955 Committee for the Area North of Route 11. 1 pamphlet Former reference: A13/J COL/PLD/TP/05/008 CLA/072/01/003 Confidential Report to the Town Clerk on Jun-55 proposed City Housing. 1 pamphlet Former reference: C90/A COL/PLD/TP/05/008 CLA/072/01/004 Speech made by Mr. Eric F. Wilkins in CoCo 17.11.1955 3rd Nov 1955, Mr. John Batty's Speech and a memorandum of the Town Clerk. Consideration of the Schemes for the development of the Barbican Area. 1 pamphlet Former reference: A7/C COL/PLD/TP/05/008 CLA/072/01/005 Report on residential development within the 31.5.1956 Barbican Area prepared on the instructions of the Special Committee by Chamberl in Powell and Bon Architects. 1 pamphlet Former reference: A89/H COL/PLD/TP/05/008 CLA/072/01/006 Supplementary Report addressed to the Oct. 1956 Conference of Deputations of the Improvements and Town Planning, Public HeaLTH, City of London Schools, Music and Special Committees. 1 pamphlet Former reference: A105/k COL/PLD/TP/05/008 CLA/072/01/007 Barbican Area, Martin - Mealand Scheme 2.4.1957 1 pamphlet Former reference: C90/K COL/PLD/TP/05/008 LONDON METROPOLITAN ARCHIVES Page 2 BARBICAN CLA/072 Reference Description Dates CLA/072/01/008 Redevelopment of the Barbican Area: 12.12.1957 engagement of Architects and other Consultants. -
Ferienkurse Für Internationale Neue Musik, 25.8.-29.9. 1946
Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946 Seminare der Fachgruppen: Dirigieren Carl Mathieu Lange Komposition Wolfgang Fortner (Hauptkurs) Hermann Heiß (Zusatzkurs) Kammermusik Fritz Straub (Hauptkurs) Kurt Redel (Zusatzkurs) Klavier Georg Kuhlmann (auch Zusatzkurs Kammermusik) Gesang Elisabeth Delseit Henny Wolff (Zusatzkurs) Violine Günter Kehr Opernregie Bruno Heyn Walter Jockisch Musikkritik Fred Hamel Gemeinsame Veranstaltungen und Vorträge: Den zweiten Teil dieser Übersicht bilden die Veranstaltungen der „Internationalen zeitgenössischen Musiktage“ (22.9.-29.9.), die zum Abschluß der Ferienkurse von der Stadt Darmstadt in Verbindung mit dem Landestheater Darmstadt, der „Neuen Darmstädter Sezession“ und dem Süddeutschen Rundfunk, Radio Frankfurt, durchgeführt wurden. Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit So., 25.8. Erste Schloßhof-Serenade Kst., 11.00 Ansprache: Bürgermeister Julius Reiber Conrad Beck Serenade für Flöte, Klarinette und Streichorchester des Landes- Streichorchester (1935) theaters Darmstadt, Ltg.: Carl Wolfgang Fortner Konzert für Streichorchester Mathieu Lange (1933) Solisten: Kurt Redel (Fl.), Michael Mayer (Klar.) Kst., 16.00 Erstes Schloß-Konzert mit neuer Kammermusik Ansprachen: Kultusminister F. Schramm, Oberbürger- meister Ludwig Metzger Lehrkräfte der Ferienkurse: Paul Hindemith Sonate für Klavier vierhändig Heinz Schröter, Georg Kuhl- (1938) mann (Kl.) Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit Hermann Heiß Sonate für Flöte und Klavier Kurt Redel (Fl.), Hermann Heiß (1944-45) (Kl.) Heinz Schröter Altdeutsches Liederspiel , II. Teil, Elisabeth Delseit (Sopr.), Heinz op. 4 Nr. 4-6 (1936-37) Schröter (Kl.) Wolfgang Fortner Sonatina für Klavier (1934) Georg Kuhlmann (Kl.) Igor Strawinsky Duo concertant für Violine und Günter Kehr (Vl.), Heinz Schrö- Klavier (1931-32) ter (Kl.) Mo., 26.8. Komponisten-Selbstporträts I: Helmut Degen Kst., 16.00 Kst., 19.00 Einführung zum Klavierabend Georg Kuhlmann Di., 27.8.