Concert 26/1

Total Page:16

File Type:pdf, Size:1020Kb

Concert 26/1 Earplay San Francisco Season Concerts 2011 Season Herbst Theatre, 7:30 PM Pre-concert talk 6:45 p.m. Earplay 26: Sound Science Monday, February 7, 2011 Jonathan BergerGeorge Crumb Jonathan Harvey Betsy Jolas Earplay 26: Sound Tangents Monday, March 28, 2011 John Cage Elliott Carter Jonathan Harvey Earplay 26: Sound Science Mei-Fang Lin Michelle Lou February 7, 2011 Earplay 26: Sound Lines Wednesday, June 1, 2011 as part of the San Francisco International Arts Festival Edmund Campion Jonathan Harvey Olga Neuwirth Hector Parra Adam RobertsMauricio Rodriguez Earplay commission/world premiere Earplay commission U.S. Premiere West-Coast Premiere 2010 Winner, Earplay Donald Aird Memorial Composition Competition elcome to Earplay’s 26th San Francisco season. Our mission is to nurture new chamber music — to W expand its reach to inspire each one of us through new compositions and performances. The 2011 San Francisco series highlights the innovation from composers at Stanford University. Each concert features the renowned members of the Earplay ensemble performing as soloists and ensemble artists and outstanding guest artists. We are thrilled that composers Betsy Jolas and Jonathan Berger are here tonight for premieres of their works. Earplay 2011 This season Earplay also performed around the Bay in Sonoma Donald Aird and Sacramento in partnership with the Sonoma City Opera and the Festival of New American Music. Earplay continues to be at Memorial the forefront of bringing new works to the concert hall. We look Composers Competition forward to seeing you at each of our concerts and appreciate your support! Downloadable application at: Stephen Ness www.earplay.org/competitions President, Board of Directors Deadline: March 31, 2011 Special Thanks To: Earplay Earplay Staff Board of Directors Bruce Bennett Advisory Board Aislinn Scofield Jonathan Berger Stephen Ness, president executive director Betsy Jolas May Luke, secretary Richard Felciano Scott Koué Christopher Jones Bruce Bennett, treasurer technical director/stage manager Peter Josheff William Kraft Terrie Baune Scott Koué Kent Nagano , musician representative scheduling coordinator Terrie Baune Peter Moore Wayne Peterson Mary Chun Thalia Moore Diane Hie Chen Yi Christopher Wendell Jones accountant Stephen Ness Ellen Ruth Rose Karen Rosenak Earplay, P.O. Box 192125, San Francisco, CA 94119-2125 David Waldorf SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER HERBST THEATRE Monday Evening, February 7, 2011 at 7:30 p.m. The Herbst Theatre Owned and operated by the City and County of San Francisco through the Board of Trustees of the War Memorial of San Francisco The Honorable Edwin M. Lee, Mayor EARPLAY 26: TRUSTEES Charlotte Mailliard Shultz, President Sound Science MajGen J. Michael Myatt, USMC (Ret.), Vice President Wilkes Bashford Nancy H. Bechtle Belva Davis Thomas E. Horn Mary Chun, conductor Claude M. Jarman, Jr. Mrs. George R. Moscone Tod Brody, flutes Terrie Baune, violin Paul F. Pelosi Peter Josheff, clarinets Ellen Ruth Rose, viola James W. Stafford Karen Rosenak, piano Thalia Moore, cello Diane B. Wilsey Elizabeth Murray, Managing Director Guest Artists Jennifer E. Norris, Assistant Managing Director Dan Reiter, cello Chris Jones, piano Pre-concert talk 6:45 p.m. Bruce Bennett, moderator with Jonathan Berger and Betsy Jolas . Earplay’s season is made possible with funding from the Ann and Gordon Getty Foundation, the Bernard Osher Foundation, The Ross McKee Foundation, the San Francisco Foundation Fund for Artists, the San Francisco Grants for the Arts, the William and Flora Hewlett Foundation, the Community Arts Committee of the Zellerbach Family Fund and Generous Donors. Program Donors (since February 2010) We thank our donors for their generosity and continued belief in the importance of the creation and performance of new and intriguing music. Jonathan Harvey String Trio (2004) Terrie Baune, Ellen Ruth Rose, $100 + Pablo Ortiz $10,000 + Leonard and Sandra Rosenberg The San Francisco Grants For the Yen Bachmeier Daniel Reiter Donald and Phyllis Sutherland Arts Jonathan Berger Ava Victoria The William and Flora Hewlett Katherine Blume Mark Winges Foundation Tod Brody George Crumb Celestial Mechanics (1979) William Beck & Yu-Hui Chang Karen Rosenak, $5,000 + James & April Carlson John & Mary Caris Ann and Gordon Getty Foundation and more friends Christopher Wendell Jones Chen Yi and Zhou Long Frances L. Bennion Chris Concolino Katherine Brody Alena Cowan Kenneth Bruchmeier $3,000 + Richard Felciano Anne Callaway I. Alpha Centauri The Bernard Osher Foundation Pablo Furman Eleanor Cohen The San Francisco Foundation Fund Patti Glasow Ernestine S. Cohn II. Beta Cygni for Artists Douglas Gong Alice Berg Cronin The Community Arts Committee Margot Golding Barbara and Sanford Dornbusch III. Gamma Draconis of the The Zellerbach Family Martha Callison Horst Robert Fisher Foundation Leo Kadehjian Donald & Stephanie Friedman IV. Delta Orionis Joy Kent Gary Friedman $1,000 + Ruth Knier Guillermo Galindo William Kraft Louise Haiman Alice M. Ditson Fund of Columbia Antoinette Kuhry & Rollin and Phyliss Harding intermission University Thomas A. Haeuser Stephen Harrison Ross McKee Foundation Susan Kwock Louis Karchin Terrie Baune Richard & Patricia Taylor Lee Mazdak Khamda Mary Chun Amy Miller Levine Teija Kuosku Betsy Jolas Ah! Haydn (2007) May Luke Alfred Lerdahl Nana Kurosawa Bari & Stephen Ness Nora Norden Eva Langfedit U.S. Premiere Aislinn Scofield Elizabeth O’Malley Jan Lustig Dan Scharlin Ralph & Elizabeth Morrison Terrie Baune, Thalia Moore and $300 + Arthur Rose Norman Reid Karen Rosenak Margaret Dorfman William Schottstaedt Allen Shearer & Claudia Stevens Yoshiko Kakudo Mike Sharp Regina Sneed Rosalie Lowe Donald & Jill Spuehler Bill Specht Sam Nichols & Laurie San Martin Olly & Louise Wilson Kristin Zoernig Karen Rosenak Jonathan Berger Yaqira (2011) Larry Russo $50 + Earplay Commission/World Premiere William Beckerman $200 + Emma Bethencourt Mark Applebaum Herbert W. Bielawa Jane Bernstein and Robert Ellis James & April Carlson I. Freely, inquisitive Raymond and Mary Chun Jim Carr II. Serene Wayne & Winnie Chun John Chowning III. Con forza Margaret Dorfman Lori Dobbins IV. Filigree Patti Noel Dueter Janet Elliott Gary Eskelson Michele Fromson & Cordell Ho Ellinor Hagedorn Paolo Geminiani Melanie Kwock Gong Arnold Go Peter Moore Karen Gottlieb Mary Chun, Tod Brody, Nora Norden John and Lee Hause Peter Josheff, Terrie Baune, Wayne Peterson Joy Kent Thomas White Richard Mellott Daniel Reiter and Karen Rosenak Patricia Moy Wendy Niles Earplay ComposErs: TwEnTy-six yEars Notes on the Program Eliane Aberdam Richard Felciano Mario Lavista Marc Satterwhite Sarah Aderholdt John Felder Anne LeBaron Eric Sawyer tempi and style. In particular, there are Thomas Adès Morton Feldman Yinam Leef sTring Trio (2004) Arnold Schoenberg Donald Aird Richard Festinger Fred Lerdahl Ralph Shapey viiolin, viola, cello two main (and contrasting) types of Eleanor Alberga Irving Fine Peter Scott Lewis Salvatore Sciarrino Richard Aldag Michael Finnissy Jorge Liderman David Schiff by music-the rustic and the sacred. The Alexis Alrich Tom Flaherty Peter Lieberson David Schober Jonathan Harvey Allen Anderson Andrew Frank György Ligeti rustic is folkloristic, and the sacred Philippe Schoeller Mark Applebaum David Froom Liza Lim Arnold Schoenberg is derived from my liturgical drama Robert Basart Pablo Furman Mei-Fang Lin Roger Sessions Ross Bauer Beat Fürrer Scott Lindroth Having now written four string Allen Shearer “Passion and Resurrection”- the music Bruce Christian Bennett Guillermo Galindo David Liptak quartets, writing a string trio has felt Arthur Berger Michael Gandolfi Zhou Long Seymour Shifrin associated with the discovery of the Jonathan Berger Guy Garnett Michelle Lou Sheila Silver rather an exposing medium. There Luciano Berio Stacy Garrop Jing Jing Luo Reynold Simpson empty tomb on Easter Sunday. Christophe Bertrand John Gibson Witold Lutoslawski Paul Siskind is even less possibility of ‘ensemble’ Jan Bilk James Giroudonv Drake Mabry Ronald Bruce Smith Herb Bielawa Glenn Glasow John MacDonald David Soley texture than in a quartet, every note Susan Blaustein Daniel Godfrey Steven Mackey Harvey Sollberger and sound is an individual assertion, The collision of these two moods is Stephen Blumberg Alexander Goehr Katherine Malyi Claudio Spies Linda Bouchard Perry Goldstein Ursula Mamlock Jeff Stadelman strongly expressive almost in the the energizing spark of this fifteen- Pierre Boulez Michelle Green Donald Martino Kurt Stallman David Meckstroth minute work, written at the request Martin Boykan Mark Grey Dorrance Stalvey way that a solo is. On the other Carolyn Bremer Stephen Michael Gryc Marjorie Merryman Eitan Steinberg of Harry Vogt for the Witten Festival Benjamin Britten Susan Harding Olivier Messiaen hand, that can be quite a liberating Frank Stemper Christopher Burns Lou Harrison Donal Michalsky Mark Stickman situation: it is no longer so necessary to be played by Ensemble Recherche. Ann Callaway Ellen Ruth Harrison Darius Milhaud Igor Stravinsky Ronald Caltabiano Stephen Hartke Eric Moe to think vertically. The three players – J.H. Edmund Campion Hugh Hartwell Chris Treubue Moore Kotoka Suzuki James Carr Jonathan Harvey Paul Moravec Toru Takemitsu can pull apart and meet up at certain Elliott Carter Hans Werner Henze Gustavo Moretto Bruce Taub John Thow places. We can leave the current Chris Chafe Martin Herman Tristan Murail JonaThan Yu-Hui Chang Jennifer Higdon Thea Musgrave
Recommended publications
  • MINUTES WAR MEMORIAL BOARD of TRUSTEES REGULAR MONTHLY MEETING Thursday, June 14, 2007
    MINUTES WAR MEMORIAL BOARD OF TRUSTEES REGULAR MONTHLY MEETING Thursday, June 14, 2007 The Board of Trustees of the War Memorial of San Francisco met in regular session at 2:00 p.m. on Thursday, June 14, 2007, in the Trustees’ Board Room, War Memorial Opera House, President Horn presiding. ROLL CALL Present: President Horn, Vice President Bechtle, Trustee Bashford, Trustee Davis, Trustee Farrow, Trustee Jarman, Trustee Moscone, Trustee Myatt, Trustee Pelosi, Trustee Shultz, and Trustee Tsakopoulos-Kounalakis; Staff Present: Elizabeth Murray, Managing Director Gregory Ridenour, Assistant Managing Director/Executive Secretary APPROVAL OF MINUTES President Horn called for approval of the minutes of the May 10, 2007 regular meeting of the Board. On motion of Trustee Shultz, seconded by Vice President Bechtle, the minutes were unanimously approved. PRESIDENT’S REPORT Trustee Appointments: President Horn introduced and welcomed Belva Davis and Maj. Gen. J. Michael Myatt, USMC (Ret.) who were recently appointed to the War Memorial Board of Trustees by Mayor Gavin Newsom. Trustees Davis and Myatt were sworn-in by Mayor Newsom on May 24, 2007, together with Trustees Horn and Tsakopoulos-Kounalakis who were reappointed by the Mayor to serve additional terms on the Board of Trustees. President Horn noted that Trustee Davis’ career in broadcasting and journalism is very well known and respected, and her contributions in these fields have been recognized and awarded on local, state and national levels. He stated that Trustee Davis is also known for her work as a labor activist and active participation in the community, and she has recently taken on the role as board president of the San Francisco Museum of the African Diaspora.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
    SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S.
    [Show full text]
  • New and Old Tendencies in Labour Mediation Among Early Twentieth-Century US and European Composers
    Anna G. Piotrowska New and Old Tendencies in Labour Mediation among Early Twentieth-Century U.S. and European Composers: An Outline of Applied Attitudes1 Abstract: New and Old Tendencies in Labour Mediation among Early Twen- tieth-Century U.S. and European Composers: An Outline of Applied Atti- tudes.This paper presents strategies used by early twentieth-century compos- ers in order to secure an income. In the wake of new economic realities, the Romantic legacy of the musician as creator was confronted by new expecta- tions of his position within society. An analysis of written accounts by com- posers of various origins (British, German, French, Russian or American), including their artistic preferences and family backgrounds, reveals how they often resorted to jobs associated with musicianship such as conducting or teaching. In other cases, they willingly relied on patronage or actively sought new sources of employment offered by the nascent film industry and assorted foundations. Finally, composers also benefited from organized associations and leagues that campaigned for their professional recognition. Key Words: composers, 20th century, employment, vacation, film industry, patronage, foundations Introduction Strategies undertaken by early twentieth-century composers to secure their income were highly determined by their position within society.2 Already around 1900, composers confronted a new reality: the definition of a composer inherited from earlier centuries no longer applied. As will be demonstrated by an analysis of their Anna G. Piotrowska, Institute of Musicology, the Jagiellonian University (Krakow), ul. Westerplatte 10, PL-31-033 Kraków; [email protected] ÖZG 24 | 2013 | 1 131 memoirs, diaries and correspondence, those educated as professional musicians and determined to make their living as active composers had to deal with similar career challenges – regardless of their origins (British, German, French, Russian or Ameri- can), their artistic preferences, or their family backgrounds.
    [Show full text]
  • Open Hearing: Nomination of Gina Haspel to Be the Director of the Central Intelligence Agency
    S. HRG. 115–302 OPEN HEARING: NOMINATION OF GINA HASPEL TO BE THE DIRECTOR OF THE CENTRAL INTELLIGENCE AGENCY HEARING BEFORE THE SELECT COMMITTEE ON INTELLIGENCE OF THE UNITED STATES SENATE ONE HUNDRED FIFTEENTH CONGRESS SECOND SESSION WEDNESDAY, MAY 9, 2018 Printed for the use of the Select Committee on Intelligence ( Available via the World Wide Web: http://www.govinfo.gov U.S. GOVERNMENT PUBLISHING OFFICE 30–119 PDF WASHINGTON : 2018 VerDate Sep 11 2014 14:25 Aug 20, 2018 Jkt 030925 PO 00000 Frm 00001 Fmt 5011 Sfmt 5011 C:\DOCS\30119.TXT SHAUN LAP51NQ082 with DISTILLER SELECT COMMITTEE ON INTELLIGENCE [Established by S. Res. 400, 94th Cong., 2d Sess.] RICHARD BURR, North Carolina, Chairman MARK R. WARNER, Virginia, Vice Chairman JAMES E. RISCH, Idaho DIANNE FEINSTEIN, California MARCO RUBIO, Florida RON WYDEN, Oregon SUSAN COLLINS, Maine MARTIN HEINRICH, New Mexico ROY BLUNT, Missouri ANGUS KING, Maine JAMES LANKFORD, Oklahoma JOE MANCHIN III, West Virginia TOM COTTON, Arkansas KAMALA HARRIS, California JOHN CORNYN, Texas MITCH MCCONNELL, Kentucky, Ex Officio CHUCK SCHUMER, New York, Ex Officio JOHN MCCAIN, Arizona, Ex Officio JACK REED, Rhode Island, Ex Officio CHRIS JOYNER, Staff Director MICHAEL CASEY, Minority Staff Director KELSEY STROUD BAILEY, Chief Clerk (II) VerDate Sep 11 2014 14:25 Aug 20, 2018 Jkt 030925 PO 00000 Frm 00002 Fmt 5904 Sfmt 5904 C:\DOCS\30119.TXT SHAUN LAP51NQ082 with DISTILLER CONTENTS MAY 9, 2018 OPENING STATEMENTS Burr, Hon. Richard, Chairman, a U.S. Senator from North Carolina ................ 1 Warner, Mark R., Vice Chairman, a U.S. Senator from Virginia ........................ 3 WITNESSES Chambliss, Saxby, former U.S.
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • Music You Know & Schubert
    CONCERT PROGRAM Friday, April 29, 2016, 8:00pm MUSIC YOU KNOW: STORYTELLING David Robertson, conductor Celeste Golden Boyer, violin BERNSTEIN Candide Overture (1956) (1918-1990) PONCHIELLI Dance of the Hours from La Gioconda (1876) (1834-1886) VITALI/ Chaconne in G minor for Violin and Orchestra (ca. 1705/1911) orch. Charlier (1663-1745) Celeste Golden Boyer, violin INTERMISSION HUMPERDINCK Prelude to Hänsel und Gretel (1893) (1854-1921) DUKAS The Sorcerer’s Apprentice (1897) (1865-1935) STEFAN FREUND Cyrillic Dreams (2009) (b. 1974) David Halen, violin Alison Harney, violin Jonathan Chu, viola Daniel Lee, cello WAGNER/ Ride of the Valkyries from Die Walküre (1856) arr. Hutschenruyter (1813-1883) 23 ACKNOWLEDGMENTS This concert is part of the Wells Fargo Advisors Orchestral Series. This concert is part of the Whitaker Foundation Music You Know Series. This concert is supported by University College at Washington University. David Robertson is the Beofor Music Director and Conductor. The concert of Friday, April 29, is underwritten in part by a generous gift from Mr. and Mrs. Andrew C. Taylor. The concert of Friday, April 29, is the Joanne and Joel Iskiwitch Concert. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of the Delmar Gardens Family and are located at the Customer Service table in the foyer. 24 A FEW THINGS YOU MIGHT NOT KNOW ABOUT MUSIC YOU KNOW BY EDDIE SILVA For those of you who stayed up late to watch The Dick Cavett Show on TV, you may recognize Leonard Bernstein’s Candide Overture as the theme song played by the band led by Bobby Rosengarden.
    [Show full text]
  • Ear and There Monday, February 8, 2010
    Earplay San Francisco Season Concerts 2010 Season Herbst Theatre, 7:30 PM Pre-concert talk 6:45 p.m. Earplay 25: Ear and there Monday, February 8, 2010 Bruce Christian Bennett , Sam Nichols, Kaija Saariaho Carlos Sanchez-Gutiérrez, Seymour Shifrin Earplay 25: Ear and There Earplay 25: Outside In Monday, March 22, 2010 February 8, 2010 Lori Dobbins, Michael Finnissy, Chris Trebue Moore Arnold Schoenberg, Judith Weir Earplay 25: Ports and Portals Monday, May 24, 2010 as part of the San Francisco International Arts Festival Jorge Liderman Hyo-shin NaWayne Peterson Tolga Yayalar earplay commission/world premiere Earplay commission West-Coast Premiere 2009 Winner, Earplay Donald Aird Memorial Composition Competition elcome to Earplay’s 25th San Francisco season. Our mission is to nurture new chamber music — W composition, performance, and audience —all vital components. Each concert features the renowned members of the Earplay ensemble performing as soloists and ensemble artists, along with special guests. Over twenty-five years, Earplay has made an enormous contribution to the bay area music community with new works commissioned each season. The Earplay ensemble has performed hundreds of works by more than two hundred Earplay 2010 composers including presenting more than one hundred world Donald Aird premieres. This season the ensemble continues exploring by performing works by composers new to Earplay. Memorial The 2010 season highlights the tremendous amount Composers Competition of innovation that happens here in the Bay Area. The season is a nexus of composers and performers adventuring into new Downloadable application at: musical realms. Most of the composers this season have strong www.earplay.org/competitions ties to the Bay Area — as home, a place of study or a place they create.
    [Show full text]
  • Contact: a Journal for Contemporary Music (1971-1988) Citation
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Toplis, Gloria. 1983. ‘Stravinsky’s Pitch Organisation Re-Examined’. Contact, 27. pp. 35-38. ISSN 0308-5066. ! 36 material, each involving different textures, registers, Example 1 harmonies, rhythms, and metres, are set synchro- nically side by side; when considered apart from their immediate context, the blocks may be seen to possess one or another of these parameters in common.' The same author has defined the structur- ing of the first movement of the Symphony in C ( 1938- 40)-one of the neoclassical works most obviously conform to the dictates of functional tonality. The akin in spirit to Classical models-not in terms of the appropriateness of the octatonic theory to Stravin- tonal relationships of sonata form, but in terms of the sky' s output becomes increasingly obvious the more temporal proportion to one another of the sections closely the constitution of the scale itself is examined. (established by means of rather ill-defined tonal For example, each degree articulating a division at areas), which is very much the same as that of a the minor third supports both a minor and a major typical sonata form movement. 3 triad-in Example 1 C supports the triads C-E flat-G Stravinsky students in the sixties were strongly and C-E-G, E flat supports the triads E flat-G flat-B influenced by the somewhat scathing and (in the flat and E flat-G-B flat, and so on; overlapping opinion of later analysts) harmful remarks of Pierre tetrachords a minor third apart contain interlocking Boulez on the composer's compositional technique in minor/major thirds-C-C sharp-D sharp-E, D sharp- works following The Rite of Spring (1911-13).
    [Show full text]
  • High Fidelity's Description ) a D Q F L V F R (Modem Music, 1944
    ) ( ' / "New York-born composer whom a good many of York Times and leading magazines. his American colleagues regard as the best musical Arthur Berger was born in New York City on May stylist among them," is High Fidelity's description 15, 1912. When his family acquired a piano in 1921, of Arthur Berger (Feb., 1957). His stylism is marked his older sister received piano lessons which he by a highly personal stamp and capacity for precise learned before she did, and he played by ear. Between shape. Time Magazine (April 27, 1953) stated "it eleven and sixteen, aside from piano lessons, he was clear that Berger had a style of his own." was musically self-taught, and by 1928 when he "Clarity, refinement, perfect timing and impecca- entered New York City College he was writing tra- bly clean workmanship are the keynotes to his style," ditional sonatas. Since the College offered little in wrote Alfred Frankenstein (San F~ancisco Chronicle, music he later transferred to New York University, June 6, 1948). He "is the sort of musician who thinks working mainly in the education division with Vincent twice before he reaches for the staff-paper." In the Jones. There, along with two fellow students, he same vein Darius Milhaud remarked on his "loving extolled Charles lves as early as 1930, entered the attention to minute detail" (Modem Music, 1944). vital set that Henry Cowell attracted, and also became The Time article already quoted points out that part of the Young Composers Group that formed after a work '.'is technically finished, Berger often around Aaron Copland as guardian.
    [Show full text]
  • Martin Boykan Elegy, String Quartet No
    NWCR786 Martin Boykan Elegy, String Quartet No. 4, Epithalamion Part II 4. IV Der Spinnerin Lied (Brentano) ......... (1:56) 5. V The Winters are so short (Dickinson) (3:29) 6. VI Um Mitternacht (Goethe) ................. (4:36) 7. VII A Bronze Immortal Takes Leave of Han (Li Ho) .................................. (7:09) Jane Bryden, soprano; The Brandeis Contemporary Chamber Players: Christopher Krueger, flute; William Wrzesien, clarinet; Nancy Cirillo, violin; Rhonda Rider, cello; James Orleans, bass; Sally Pinkas, piano; David Hoose, conductor String Quartet No. 4 (1996) ........................................ (17:49) 8. I Vigoroso, II Adagio espressivo Lydian String Quartet: Daniel Stepner, violin; Judith Eissenberg, violin; Mary Ruth Ray, viola; Rhonda Rider, cello Epithalamion (1986) ................................................... (11:01) 10. I Love Song (Ammons) (Prelude) ....... (2:54) 11. II Anon., sixteenth-century poem (Scherzo) .................................................. (1:51) 12. III Epithalamion (Spenser) (Invocation) (6:17) James Maddalena, baritone; Nancy Cirillo, Elegy (1982) ............................................................... (33:19) violin; Virginia Crumb, harp Part I Total Playing Time: 62:22 1. I Ist alles denn verloren (Goethe) ........ (5:25) 2. II A se stesso (Leopardi) ....................... (5:34) Ê 1988, 1998 & © 1998 Composers Recordings, Inc. 3. III Agonia (Ungaretti) ............................ (5:10) © 2007 Anthology of Recorded Music, Inc. Notes and experience, but they are somehow
    [Show full text]
  • An Arthur Berger
    AN ARTHUR BERGER New World Records 80360 RETROSPECTIVE with GILBERT KALISH, piano JOEL KROSNICK, cello CHRISTOPHER OLDFATHER, piano JOEL SMIRNOFF, violin DAVID STAROBIN, guitar Members of the Boehm Quintette Arthur Berger is a stalwart of the American concert tradition. No popularizer, he has for some fifty years been producing sturdily crafted pieces that spring from the mixed lineage of Stravinsky, Schoenberg, and Copland. Yet the style is all his own. At times it readily appeals. Always it challenges. Born in 1912 and raised in the Bronx, Berger first studied at City College and New York University, later at the Longy School of Music and at Harvard. He completed his formal education with Nadia Boulanger in Paris. From 1939 to 1943 he taught at Mills College and Brooklyn College, then began writing music criticism for the New York Sun and, principally, the New York Herald-Tribune. In 1953 Berger joined the faculty of Brandeis University; he has also taught at Harvard and the Juilliard School, and is currently on the faculty of the New England Conservatory. Like many of his composer contemporaries, Berger has been an important and prolific writer. In addition to his stints as a journalist, he founded two quite different periodicals, each an outgrowth of the notion of a "little magazine" directed to a special public. The first, The Musical Mercury, was started in 1934 by Berger and Bernard Herrmann--the man later famous as a Hollywood film composer. Although The Musical Mercury included some articles about new works, it mostly explored European compositions of the past. The journal with which Berger is most closely identified, however, is Perspectives of New Music, begun with Benjamin Boretz in 1962.
    [Show full text]
  • NON-TRADITIONAL INSTRUMENTS in a TRADITIONAL ROLE THREE•WORKS for PERCUSSION ENSEMBLE SINCE I960 Martha Joy Reeder a Thesis Su
    Non-traditional instruments in a traditional role: three works for percussion ensemble since 1960 Item Type text; Thesis-Reproduction (electronic) Authors Reeder, Martha Joy Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 14:12:36 Link to Item http://hdl.handle.net/10150/557382 NON-TRADITIONAL INSTRUMENTS IN A TRADITIONAL ROLE THREE•WORKS FOR PERCUSSION ENSEMBLE SINCE i960 by Martha Joy Reeder A Thesis Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of ' MASTER OF MUSIC WITH A MAJOR IN MUSIC THEORY In the Graduate College THE.UNIVERSITY OF,ART ZONA 1 9 8 0 STATEMENT BY AUTHOR This thesis has been submitted in partial ful­ fillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. - : Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for per­ mission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the music department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of Scholarship.
    [Show full text]