Philip Glass (1937) Three Songs for Chorus a Capella
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Let Me Be Your Guide: 21St Century Choir Music in Flanders
Let me be your guide: 21st century choir music in Flanders Flanders has a rich tradition of choir music. But what about the 21st century? Meet the composers in this who's who. Alain De Ley Alain De Ley (° 1961) gained his first musical experience as a singer of the Antwerp Cathedral Choir, while he was still behind the school desks in the Sint-Jan Berchmans College in Antwerp. He got a taste for it and a few years later studied flute with Remy De Roeck and piano with Patrick De Hooghe, Freddy Van der Koelen, Hedwig Vanvaerenbergh and Urbain Boodts). In 1979 he continued his studies at the Royal Music Conservatory in Antwerp. Only later did he take private composition lessons with Alain Craens. Alain De Ley prefers to write music for choir and smaller ensembles. As the artistic director of the Flemish Radio Choir, he is familiar with the possibilities and limitations of a singing voice. Since 2003 Alain De Ley is composer in residence for Ensemble Polyfoon that premiered a great number of his compositions and recorded a CD dedicated to his music, conducted by Lieven Deroo He also received various commissions from choirs like Musa Horti and Amarylca, Kalliope and from the Flanders Festival. Alain De Ley’s music is mostly melodic, narrative, descriptive and reflective. Occasionally Alain De Ley combines the classical writing style with pop music. This is how the song Liquid Waltz was created in 2003 for choir, solo voice and pop group, sung by K’s Choice lead singer Sarah Bettens. He also regularly writes music for projects in which various art forms form a whole. -
Here, Artistic Research and Practice Play an Important Role by Generating New Fields of Experience and Reflection
ten years institute for computer music and sound technology The present CD release contains a heterogeneous collection of pieces related in different ways to the Institute of Computer Music and Sound Technology at the Zurich University of the Arts. It includes works of artists studying, working at or visiting the ICST. The CD presents individual approaches and by no means any sort of institutional aesthetics what- soever. This goes in line with the idea of artistic practice at the institute. While issues like sound generation, spatiality, interaction, performance practice or aesthetic context are continually the subject of debate in labs, studios and classrooms, the specific answers within the artistic practice always reflect autonomous positions, which of course does not exclude mutual influences or shared interests and methods. Nevertheless, a common ground could be formulated as the question how perception, artistic creation and inter- action in a performance space are today challenged by technology. The question seems relevant if we understand musical practice within a broader cultural context in which tech- nology increasingly influences social activity and communication. Here, artistic research and practice play an important role by generating new fields of experience and reflection. In doing so, academic institutions become open spaces where different discourses and cultures communicate and help to establish links between artistic tradition and contempo- rary practice. Germán Toro Pérez, Director ICST Partikel, vernetzt 05:22, 2015 Philippe Kocher This piece’s sound synthesis is based on a self-regulating network algorithm. The artisti- Philippe Kocher (*1973) is a musician, composer and researcher. He studied piano, cally most attractive property of this sound synthesis algorithm lies in the fact that it allows electroacoustic music, music theory, composition and musicology in Zurich, Basel, Lon- to generate pitches, timbres, textures and rhythmic patterns at the same time and within don and Bern. -
China and the West: Music, Representation, and Reception
Revised Pages China and the West Revised Pages Wanguo Quantu [A Map of the Myriad Countries of the World] was made in the 1620s by Guilio Aleni, whose Chinese name 艾儒略 appears in the last column of the text (first on the left) above the Jesuit symbol IHS. Aleni’s map was based on Matteo Ricci’s earlier map of 1602. Revised Pages China and the West Music, Representation, and Reception Edited by Hon- Lun Yang and Michael Saffle University of Michigan Press Ann Arbor Revised Pages Copyright © 2017 by Hon- Lun Yang and Michael Saffle All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2020 2019 2018 2017 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Names: Yang, Hon- Lun, editor. | Saffle, Michael, 1946– editor. Title: China and the West : music, representation, and reception / edited by Hon- Lun Yang and Michael Saffle. Description: Ann Arbor : University of Michigan Press, 2017. | Includes bibliographical references and index. Identifiers: LCCN 2016045491| ISBN 9780472130313 (hardcover : alk. paper) | ISBN 9780472122714 (e- book) Subjects: LCSH: Music—Chinese influences. | Music—China— Western influences. | Exoticism in music. -
The Dutch Connection Text Booklet
The Dutch Connection: from Utrechtsch Sextet to Hexagon Ensemble The sextet consisting of five wind instruments and piano is a colourful combination that has inspired many composers. In the 1920s there were even two professional wind sextets in the Netherlands: the Utrechtsch Sextet and the Concertgebouw Sextet. In the Concertgebouw one can still see a large painting in memory of the latter ensemble, portraying the five solo wind players from the Concertgebouw Orchestra and pianist Evert Cornelis who were members of the ensemble around 1920. Besides these sextets, there was an even larger number of wind quintets in the Netherlands. Often these ensembles were made up of first-desk wind players from symphony orchestras. For many years there were ensembles consisting of members from the Residentie Orchestra of The Hague and the Rotterdam Philharmonic Orchestra. The best known Dutch wind quintet is the Danzi Quintet, an ensemble that from the 1950s held a prominent place in Dutch music life for a long time. The ensemble not only performed music from around 1800, but also that of contemporary composers such as Jan van Vlijmen, Ton de Leeuw and Peter Schat. Some of these wind quintets were regularly augmented with a pianist in order to play sextets. The Dutch Connection is a tribute by the Hexagon Ensemble to the Dutch composers who have written sextets, as well as to the ensemble’s predecessors who performed the works. Willem Pijper (1894-1947) wrote his Sextet in the winter of 1922-1923 for the Utrechtsch Sextet, of which he was the pianist. The five wind players were first-desk players of the Utrechtsch City Orchestra. -
Cello Biennale 2018
programmaoverzicht Cellists Harald Austbø Quartet Naoko Sonoda Nicolas Altstaedt Jörg Brinkmann Trio Tineke Steenbrink Monique Bartels Kamancello Sven Arne Tepl Thu 18 Fri 19 Sat 20 Sun 21 Mon 22 Tue 23 Wed 24 Thu 25 Fri 26 Sat 27 Ashley Bathgate Maarten Vos Willem Vermandere 10.00-16.00 Grote Zaal 10.00-12.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal Kristina Blaumane Maya Beiser Micha Wertheim First Round First Round (continued) Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Arnau Tomàs Matt Haimovitz Kian Soltani Jordi Savall Sietse-Jan Weijenberg Harriet Krijgh Lidy Blijdorp Mela Marie Spaemann Santiago Cañón NES Orchestras and Ensembles 10.15-12.30 10.15-12.30 10.30-12.45 Grote Zaal 10.15-12.30 10.15-12.30 10.15-12.30 10.15-12.30 10.30 and 12.00 Kleine Zaal Master class Master class Second Round Masterclass Masterclass Masterclass Masterclass Valencia Svante Henryson Accademia Nazionale di Santa Show for young children: Colin Carr (Bimhuis) Jordi Savall (Bimhuis) Jean-Guihen Queyras Nicolas Altstaedt (Bimhuis) Roel Dieltiens (Bimhuis) Matt Haimovitz (Bimhuis) Colin Carr Quartet Cecilia Spruce and Ebony Jakob Koranyi (Kleine Zaal) Giovanni Sollima (Kleine (Bimhuis) Michel Strauss (Kleine Zaal) Chu Yi-Bing (Kleine Zaal) Reinhard Latzko (Kleine Zaal) Zaal) Kian Soltani (Kleine Zaal) Hayoung Choi The Eric Longsworth Amsterdam Sinfonietta 11.00 Kleine Zaal Chu Yi-Bing Project Antwerp Symphony Orchestra Show for young children: -
The Late Choral Works of Ton De Leeuw: an Analytical Study
THE LATE CHORAL WORKS OF TON DE LEEUW AN ANALYTICAL STUDY by RENS TIENSTRA A thesis submitted to the University of Birmingham for the degree of MASTER OF ARTS Department of Music College of Arts and Law University of Birmingham September 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Ton de Leeuw (1926–1996) is widely regarded as one of the most important post-war Dutch composers. Taught among others by Olivier Messiaen and Jaap Kunst, and strongly influenced by non-Western music, De Leeuw was a teacher at the University of Amsterdam and professor of composition and electronic music at the Amsterdam Conservatory from 1959 to 1986, a position in which he educated many Dutch composers active today. His book Music of the Twentieth Century, first published in 1964, is still regarded as an authoritative work. Despite De Leeuw’s formidable reputation as composer and teacher, and the regular performance of his works, hardly any scholarly research into his oeuvre has yet been undertaken. The current study is an attempt to change this, exploring five of De Leeuw’s later choral compositions as representative of the style he described in terms of ‘extended modality’. -
Structure Research Ton De Leeuw
THE LATE CHORAL WORKS OF TON DE LEEUW AN ANALYTICAL STUDY by RENS TIENSTRA A thesis submitted to the University of Birmingham for the degree of MASTER OF ARTS Department of Music College of Arts and Law University of Birmingham September 2016 ABSTRACT Ton de Leeuw (1926–1996) is widely regarded as one of the most important post-war Dutch composers. Taught among others by Olivier Messiaen and Jaap Kunst, and strongly influenced by non-Western music, De Leeuw was a teacher at the University of Amsterdam and professor of composition and electronic music at the Amsterdam Conservatory from 1959 to 1986, a position in which he educated many Dutch composers active today. His book Music of the Twentieth Century, first published in 1964, is still regarded as an authoritative work. Despite De Leeuw’s formidable reputation as composer and teacher, and the regular performance of his works, hardly any scholarly research into his oeuvre has yet been undertaken. The current study is an attempt to change this, exploring five of De Leeuw’s later choral compositions as representative of the style he described in terms of ‘extended modality’. This study is aimed at understanding the nature and specificity of De Leeuw’s later choral works, and thereby clarifying the place of the composer’s later works – the choral works in particular – within the context of their time. ii CONTENTS Preface ... ... ... ... ... ... ... ... ... ... v Acknowledgements ... ... ... ... ... ... ... ... ... vii PART I: INTRODUCTION CHAPTER I Research subject ... ... ... ... ... ... ... 2 Outline of the research ... ... ... ... ... ... 4 CHAPTER II 2.1 Ton de Leeuw: biography ... ... ... ... ... 6 2.2 De Leeuw’s choral works: overview .. -
From the Sixties to the Present Day Contemporary Musical Life in the Light of Five Characteristic Features
Amsterdam University Press Chapter Title: From the Sixties to the Present Day Contemporary Musical Life in the Light of Five Characteristic Features Book Title: Music of the Twentieth Century Book Subtitle: A Study of Its Elements and Structure Book Author(s): TON DE LEEUW Published by: Amsterdam University Press. (2005) Stable URL: https://www.jstor.org/stable/j.ctt46n27q.14 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Amsterdam University Press is collaborating with JSTOR to digitize, preserve and extend access to Music of the Twentieth Century This content downloaded from 129.74.250.206 on Wed, 12 Sep 2018 04:43:16 UTC All use subject to https://about.jstor.org/terms opmaak Music 15-07-2005 15:25 Pagina 195 chapter 9 From the Sixties to the Present Day Contemporary Musical Life in the Light of Five Characteristic Features It is hardly sufficient to discuss the newest developments in music exclusive- ly in terms of their manifestation in the music world at large. Much of what is happening today reaches the public concert circuit only occasionally, if at all. Naturally, the same applies to the media and the music press in so far as they, in turn, form a reflection of events in the concert world. -
Pem Sunda Mbarua a Ditinj Perlu an Mus Au Dar Uasan G Sik Gam Ri
Pembaruan Musik Gamelan di Daerah Sunda Ditinjau dari Eksperimen Bunyi dan Perluasan Gramatika Musik Oleh Iwan Gunawan Makalah ini telah disampaikan pada acara konferensi International Gamelan Festival Amsterdam 13 – 14 June 2007, Tropentheater Based on an idea by PEMBARUAN MUSIK GAMELAN DI DAERAH SUNDA DITINJAU DARI EKSPERIMENTASI BUNYI DAN PERLUASAN GRAMATIKA MUSIK Oleh Iwan Gunawan ABSTRAK The paradigm of gamelan music as an art form of a special ethnic or society group is currently changing. Various innovations that have been done by Indonesian and non-Indonesian composers prove it. Finally the art of gamelan music seems not to be owned anymore by a certain ethnic but is rather “owned” by individual persons. Beside keeping on with the tradition, what has been already done by Indonesian and also non-Indonesian composers? How have they developed gamelan music in terms of sound experiments and extending the musical grammar? What do I think about these renewals and where is my personal position in my Sundanese culture as an artist? PENDAHULUAN Berbagai upaya untuk melakukan pembaruan musik khususnya karya musik yang berhubungan dengan instrumen gamelan, telah banyak dilakukan oleh para pelakunya di berbagai belahan dunia ini. Sebagaimana alat musik lainnya, gamelan memiliki potensi untuk digunakan serta dikembangkan oleh siapa saja dan dengan cara apa saja. Sebuah gambaran tentang eksistensi musik gamelan saat ini komponis Indonesia I Wayan Sadra pernah mengemukakan sebagai berikut. ... kiprah gamelan kontemporer sudah jauh untuk berusaha mencari dan membentuk ruang publik yang diharapkan dapat menunjang konsistensi untuk secara tetap menggeluti dunianya. Orientasnya yang jauh ke depan, bahkan melewati batas negara, sudah barang tentu membentuk horizon yang luas, dan dengan lapang dada menerima dan melakukan pembaruan-pembaruan. -
Other Minds in Association with the Djerassi Resident Artists Program Presents Other Minds Festival 21 March 4
O M OTHER MINDS IN ASSOCIATION WITH THE DJERASSI RESIDENT ARTISTS PROGRAM PRESENTS OTHER MINDS FESTIVAL 21 MARCH 4 - MARCH 6, 2016 SFJAZZ CENTER SAN FRANCISCO 2 1 WELCOME FESTIVAL TO OTHER MINDS 21 OF NEW MUSIC The 21st Other Minds Festival is present- 2 Message from the Artistic Director ed by Other Minds in association with the 4 Exhibition & Silent Auction Djerassi Resident Artists Program and SFJAZZ Center. 13 Concert 1 17 Concert 2 All festival concerts take place at Robert N. Miner Auditorium in the SFJAZZ Center. 19 Concert 3 20 Other Minds 21 Featured Artist 26 Other Minds 21 Performers 35 Other Minds 21 Staff Bios 35 About Other Minds 36 Festival Supporters: A Gathering Of Other Minds 40 About The Festival This booklet © 2016 Other Minds, All rights reserved O MESSAGE FROM THE ARTISTIC DIRECTOR WELCOME BACK TO OTHER MINDS Words, by Phil Kline, incorporating the recorded voice of American writer William Burroughs. More Mvoices follow as Flux also gives us Michael Gordon’s intense mini-masterpiece The Sad Park, a So many long-term plans are coming together for this year’s Other Minds Festival that I’m filled with even more anticipation than usual. Our list of guest composers and performers is brimming with view of the 9/11 disaster as told by young children in New York City. Also inspired by 9/11 is the music talent, and it’s our good fortune to present them all at once to you at OM 21. Here they are, fresh for solo violin and film (Bill Morrison) Light Is Calling, which will be performed by Kate Stenberg. -
MONOLOGUES 2020 — Fie Schouten
MONOLOGUES 2020 Fie Schouten Photo: © Andreas Fröba 2 1. _____ Guus Janssen ( * 1951 ) ...van horen zingen... ( 2020 ) for bassethorn = 05:34 2. _____ Lotta Wennäkoski (* 1970) Limn ( 2002 ) for bass clarinet = 09:41 3. _____ Enno Poppe (* 1969 ) Holz ( 1999 / 2015 ) for bass clarinet = 11:14 4. _____ Isang Yun ( 1917 – 1995 ) Monolog ( 1983 ) for bass clarinet = 11:16 5. _____ Ton de Leeuw ( 1926 – 1996 ) Mountains ( 1977 ) for bass clarinet & tape = 18:18 TT = 56:03 3 MONOLOGUES 2020 March 2020: no concerts, even rehearsals are Holz by Enno Poppe was composed in 1999 for not allowed. I look in my drawers with sheet clarinet and en semble. It is the first part of the music. First, I start with Monolog by Isang Holz-Knochen-Öl cycle. Composer Enno Poppe Yun. This work was premiered in 1983 by Harry tells a story of growth and decay. Wood is a Sparnaay. Isang Yun is a composer who has been living and growing material. The unruliness the looking for harmony all his life. He was born in bass clarinet can have comes to the fore, but Korea and hoped that through music the two also the flexibility, jumping from extremely high Koreas would one day get back together. What to low and subtle changes of color through the is special is that both countries play and honor use of the microtones. Poppe made a version for his music. I was also looking for harmony and a bassoon in 2005 and a version for bass clarinet challenge at the same time. Monolog is one of solo in 2015, dedicated to me and Richard the most important and challenging solo works Haynes. -
Ton De Leeuw Netherlands Music Archive
Ton de Leeuw Netherlands Music Archive A series of books commissioned by the Board of Editors, CNM, Hilversum, in consultation with Richard King, Oberlin Conservatory of Music, Ohio, USA and composer Jenny McLeod, New Zealand in association with Centrum Nederlandse Muziek, Hilversum, The Netherlands Volume 1 Ton de Leeuw edited by Jurrien Sligter Additional volumes in preparation: Six Women Composers from the Netherlands edited by Helen Metzelaar Unico Wilhelm van Wassenaer edited by Kees Vlaardingerbroek and Rudolf Rasch Ton de Leeuw edited by Jurrien Sligter translated by fohn Lydon ~ ~~o~;~;n~~~up LONDON AND NEW YORK Copyright© 1995 by Harwood Academic Publishers GmbH. All rights reserved. First published 1995 by Harwood Academic Publishers This edition published 2013 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN 711 ThirdAvenue,NewYork, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an iriforma business Originally published in Dutch in 1992 by CNM, Hilversum I Walburg Pers, Zutphen This English language edition was made possible by financial support from the Prins Bernard Fonds, The Netherlands. British Library Cataloguing in Publication Data Leeuw, Ton de Ton de Leeuw. - (Netherlands Music Archive, ISSN 1023-7127; Vol. 1) I. Title II. Lydon, John III. Sligter, Jurrien IV. Series 780.92 ISBN 3-7186-5695-7 (hardback) ISBN 3-7186-5696-5 (paperback) No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any