August 30-31, 2007
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Draft Schedule Revised
ICMSN/SurreyMAC 2017 Provisional Schedule at 16 June 2017 Monday 11 September 1330–1500 Session 1A Post-tonal form Robert Baker, ‘Progressive Forms: Pitch, Notation, and Time in Two Works by Henri Dutilleux’. Anabel Maler, ‘Hearing Function in Post-Tonal Context’. Cecilia Taher, ‘J.C. Paz’s Concreción: A three-dimensional dynamic form’. Session 1B Following Wagner Charlotte Armstrong, ‘Max Nordau and the diagnosis of musical degeneracy: “unhealthy” music in the operas of Richard Wagner and Franz Schreker’. Peter Atkinson, ‘Dancing Wagnerism: Rutland Boughton’s “Dancing Scenery” and the English Reinvention of the Gesamtkunstwerk’. Malcolm Miller, ‘Wood’s “Wagner – Dreams”: New light on Henry Wood’s orchestration of Träume for violin and orchestra’. 1500–1630 Session 2A China David Ho-Yi Chan, ‘Lingustic Parameters in Contemporary Choral Music’. Cheong Wai-Ling and Hong Ding, ‘Reception of twelve-note music in China — foes turned friends?’ Na Li, ‘Masculinity without men? The multiple gendered images presented by female performers of Northwest Wind’. Session 2B Electronics Nino Auricchio and Paul Borg, ‘New modular instruments and approaches to music generation’. Jo Langton, ‘Musical Analysis of Glass Art Sculptures: The Baschet Brothers’ Sculptures Sonores in the electroacoustic composition of Beatriz Ferreyra’. Laurence Willis, ‘Approaches to Electronics in Haas’s String Quartets No. 4 and No. 7’. 1630–1700 Tea/coffee 1700–1800 Session 3A Schubert Mark Hutchinson, ‘Wandering through history: distorted temporalities in Zender’s Schubert’. Anne Hyland, ‘Rehabilitating Schubert’s Early Sonata Forms: the Overture for String Quintet in C minor, D. 8 and Romantic Form’. Session 3B Feminist perspectives Anna Terzaroli, ‘Teresa Rampazzi, a woman in the Electronic Music’. -
The Boston Modern Orchestra Project's January 2008 Premiere of Ezra Sims's Concert Piece II, Featuring Clarinetists Michael
The Boston Modern Orchestra Project’s January 2008 premiere of Ezra Sims’s Concert Piece II, featuring clarinetists Michael Norsworthy and Amy Advocat, was one of the most thrilling concert experiences I can remember. I’ve been an admirer of Sims’s music for many years, and I am familiar with his distinctive microtonal style—certain characteristic intervals and harmonies, ostinati, and phrase contours. But despite my familiarity, I found myself laughing out loud with pleasure at this latest, and very grand, example of Sims’s continued resolve and daring. Years ago the Boston Globe music critic Richard Buell called Sims’s music “subversive,” and I believe in a sense he was right. With certain aspects of his music Sims sticks to tradition; for example, Concert Piece II is a double concerto with classic instrumentation, in ABA form, with clear motivic development, arching “antecedent” and “consequent” phrases, even tonality (albeit of an idiosyncratic kind). However, within conventional parameters such as these Sims produces sonorities that subvert our expectations on a visceral level. From the very opening of Concert Piece II, over undulating and pulsating microtonal figures in the strings and bassoons, the clarinets begin trading off strange, soaring lines with intervals such as 1/3 tones, 2/3 tones, and 1/6-tone-augmented minor thirds. The melodies are elegant, articulate, intensely expressive, and even seem to have familiar contours—yet they are also startlingly alien. This feeling is somehow underscored when the oboe enters with its own wild take on the theme, and then even further when later the violins, flutes, and oboe take up the thematic line in unison. -
Boston Symphony Orchestra Concert Programs, Season 116, 1996
The security of a trust, Fidelity service and expertise. A CLcuwLc Composition A conductor and his orchestra — together, they perform masterpieces. Fidelity Now Fidelity Personal Trust Services Pergonal can help you achieve the same harmony for your trust portfolio of Trudt $400,000 or more. Serviced You'll receive superior trust services through a dedicated trust officer, with the added benefit of Fidelity s renowned money management expertise. And because Fidelity is the largest privately owned financial services firm in the nation, you can rest assured that we will be there for the long term. Call Fidelity Personal Trust Serviced at 1-800-854-2829. You'll applaud our efforts. Trust Services offered by Fidelity Management Trust Company For more information, visit a Fidelity Investor Center near you: Boston - Back Bay • Boston - Financial District • Braintree, MA • Burlington, MA Fidelity Investments 17598.001 This should not be considered an offer to provide trust services in every state. Trust services vary by state. To determine whether Fidelity may provide trust services in your state, please call Fidelity at 1-800-854-2829. Investor Centers are branches of Fidelity Brokerage Services, Inc. Member NYSE, SIPC. Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Sixteenth Season, 1996-97 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke. Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. Edith L. Dabney, Vice-Chairman Ray Stata, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Harlan E. Anderson William M. Crozier, Jr. Julian T. -
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Society of Composers Inc. National Student Conference 2001 Presented by The Indiana School of Music welcomes you to the 2001 Society of Composers Inc. National Student Conference Dear Composers and Friends: I am pleased to attend the Third Annual National Student Conference of the Society of Composers, Inc. This event, ably hosted by Jason Bahr with generous support from Don Freund, will give you that rare opportunity to meet and hear each other's works performed by some of the most talented performers in this country. Take advantage of this timethese are your future colleagues, for you can never predict when you will meet them again. This is the weekend we will choose the three winners of the SCI/ASCAP Student Composition Commission Competition, to be announced at the banquet on Saturday evening. You will hear three new compositions by the winners of the 2000 competition: Lansing D. McLoskey's new choral work on Saturday at 4:00 p.m.; Karim Al-Zand's Wind Ensemble work to be performed Thursday night at 8:00 p.m.; and Ching-chu Hu's chamber ensemble work on the Friday night concert. SCI is grateful to Fran Richard and ASCAP for their support with this ongoing commissioning project. Last month I was asked by the editor of the on-line journal at the American Music Center in New York to discuss the dominant musical style of today and to predict what the dominant musical style might be of tomorrow. If only I could predict future trends! And yet, today's music depends upon whom you ask. -
AMERICAN ACADEMY in ROME PRESENTS the SCHAROUN ENSEMBLE CONCERT SERIES 14-16 JANUARY 2011 at VILLA AURELIA Exclusive Concert
FOR IMMEDIATE RELEASE January 11, 2011 AMERICAN ACADEMY IN ROME PRESENTS THE SCHAROUN ENSEMBLE CONCERT SERIES 14-16 JANUARY 2011 AT VILLA AURELIA Exclusive Concert Dates in Italy for the Scharoun Ensemble Berlin Courtesy of the Scharoun Ensemble Berlin Rome – The American Academy in Rome is pleased to present a series of three concerts by one of Germany’s most distinguished chamber music ensembles, the Scharoun Ensemble Berlin. Comprised of members of the Berlin Philharmonic Orchestra, the Scharoun Ensemble Berlin specializes in a repertoire of Classical, Romantic, 20th century Modernist, and contemporary music. 2011 marks the third year of collaboration between the Ensemble and the American Academy in Rome, which includes performances of work by current Academy Fellows in Musical Composition Huck Hodge and Paul Rudy, as well as 2009 Academy Fellow Keeril Makan. Featuring soprano Rinnat Moriah, the Ensemble will also perform music by Ludwig van Beethoven, John Dowland, Antonin Dvořák, Sofia Gubaidulina, Heinz Holliger, Luca Mosca, and Stefan Wolpe. The concerts are free to the public and will take place at the Academy’s Villa Aurelia from 14-16 January 2011. Event: Scharoun Ensemble Berlin (preliminary program*) 14 January at 9pm – Ludwig van Beethoven, John Dowland, Huck Hodge, and Stefan Wolpe 15 January at 9pm – Sofia Gubaidulina, Huck Hodge, Heinz Holliger and Keeril Makan 16 January at 11am – Antonin Dvořák, Luca Mosca, and Paul Rudy *subject to change Location: Villa Aurelia, American Academy in Rome Largo di Porta San Pancrazio, 1 Scharoun Ensemble Berlin The Scharoun Ensemble Berlin was founded in 1983 by members of the Berlin Philharmonic Orchestra. -
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. -
Program Notes Hosted by the Score Board 7:00
DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Program Notes hosted by the Score Board 7:00 MICHAEL TIPPETT Concerto for Double String Orchestra HAROLD MELTZER Full Faith and Credit (2004) (1938–39) I. Rugged I. Allegro con brio II. Homespun II. Adagio cantabile III. Blistering III. Allegro molto – Poco allargando IV. Viscous V. Genteel VI. Hymn VII. Rugged MATHEW ROSENBLUM Double Concerto for Baritone Saxophone, Percussion, and Orchestra (2010) Ronald Haroutunian, bassoon World Premiere Adrian Morejon, bassoon I. II. III. STEPHEN PAULUs Concerto for Two Trumpets and Orchestra (2003) IV. I. Fantasy V. II. Elegy III. Dance Kenneth Coon, baritone saxophone Terry Everson, trumpet Lisa Pegher, percussion Eric Berlin, trumpet INTERMISSION GIL ROSE, CONDUCTOR * Commissioned by the Fromm Music Foundation for Kenneth Coon and the Boston Modern Orchestra Project (Gil Rose, conductor) 4 5 PROGRAM NOTES By Robert Kirzinger TONIGHT’s COLLECTION OF DOUBLE CONCERTOS demonstrates the modern range of a genre that developed beginning about the end of the 1600s, essentially parallel to the solo concerto. Double and other multiple concertos were quite common in the High Baroque, including lots of examples by Vivaldi and, under his influence, Bach, but the solo concerto dominates the Classical period and beyond, with relatively few notable exceptions—Mozart’s two-piano concerto and sinfonias concertante, Beethoven’s Triple, Brahms’s Double—remaining solidly in today’s orchestral repertoire. This concert’s variety of approaches has as its chronological and stylistic extremes Michael Tippett’s 1939 GER Concerto for Double String Orchestra—one of the composer’s first works of significance— N and the brand-new, up-to-the-moment world premiere of the Double Concerto for Baritone GRAI Saxophone, Percussion, and Orchestra written for BMOP by Pittsburgh-based Mathew CLIVE Rosenblum. -
Richard O'neill
Richard O’Neill 1276 Aikins Way Boulder, CO 80305 917.826.7041 [email protected] www.richard-oneill.com Education University of North Carolina School of the Arts 1997 High School Diploma University of Southern California, Thornton School of Music 2001 Bachelor of Music, magna cum laude The Juilliard School 2003 Master of Music The Juilliard School 2005 Artist Diploma Teaching University of Colorado, Boulder, College of Music 2020 - present Experience Artist in Residence, Takacs Quartet University of California Los Angeles, Herb Alpert School of Music 2007 - 2016 Lecturer of Viola University of Southern California, Thornton School of Music 2008 Viola Masterclasses Hello?! Orchestra (South Korea) 2012 - present Multicultural Youth Orchestra Founder, conductor and teacher Music Academy of the West, Santa Barbara 2014 - present Viola and Chamber Music Florida International University 2014 Viola Masterclass Brown University 2015 Viola Masterclass Hong Kong Academy of Performing Arts. 2016, 2018 Viola Masterclasses Scotia Festival 2017 Viola Masterclasses Asia Society, Hong Kong 2018 Viola and Chamber Music Masterclasses Mannes School of Music 2018 Viola Masterclass The Broad Stage, Santa Monica 2018 - 2019 Artist-in-residence, viola masterclasses, community events Affiliations Sejong Soloists 2001 - 2007 Principal Viola The Chamber Music Society of Lincoln Center 2003 - present CMS Two/Bowers YoungArtist from 2004-06 CREDIA International Artist Management 2004 - present Worldwide manager, based in South Korea Seattle Chamber Music Society -
Computer Music Studio and Sonic Lab at Anton Bruckner University
Computer Music Studio and Sonic Lab research zone (Computermusik-Forschungsraum), a workstation, an archive room/depot and (last but not at Anton Bruckner University least) offices for colleagues and the directors. Studio Report 2.1. Sonic Lab The Sonic Lab is an intermedia computer music concert Andreas Weixler Se-Lien Chuang hall with periphonic speaker system, created by Andreas Weixler for the Bruckner University to enable internatio- Anton Bruckner University Atelier Avant Austria nal exchanges for teaching and production with other Computer Music Studio Austria/EU developed computer music studios. 20 full range audio [email protected] Linz, Austria/EU channels plus 4 subsonic channels surround the audience, [email protected] enabling sounds to move in space in both the horizontal and vertical planes. A double video and data projection Figure 2 capability allows the performance of audiovisual works . preparation at the Sonic Lab and also the accommodation of conferences, etc. ABSTRACT The Computer Music Studio organizes numerous concert In the opening concert compositions by John Chowning Voices and lecture series, regionally, nationally and internation- ( - for Maureen Chowning - v.3 for soprano and The CMS (Computer Music Studio) [1] at Anton Bruckn- BEASTiary ally [3]. electronics), Jonty Harrison ( ), Karlheinz Essl er University in Linz, Austria is hosted now in a new (Autumn's Leaving for pipa and live electronics), Se-Lien building with two new studios including conceptional 1.1. History Chuang (Nowhereland for extended piano, bass clarinet, side rooms and a multichannel intermedia computer mu- multichannel electro-acoustics and live electronics) and sic concert hall - the Sonic Lab [2]. -
Alumnews2007
C o l l e g e o f L e t t e r s & S c i e n c e U n i v e r s i t y D EPARTMENT o f o f C a l i f o r n i a B e r k e l e y MUSIC IN THIS ISSUE Alumni Newsletter S e p t e m b e r 2 0 0 7 1–2 Special Occasions Special Occasions CELEBRATIONS 2–4 Events, Visitors, Alumni n November 8, 2006, the department honored emeritus professor Andrew Imbrie in the year of his 85th birthday 4 Faculty Awards Owith a noon concert in Hertz Hall. Alumna Rae Imamura and world-famous Japanese pianist Aki Takahashi performed pieces by Imbrie, including the world premiere of a solo piano piece that 5–6 Faculty Update he wrote for his son, as well as compositions by former Imbrie Aki Takahashi performss in Hertz Hall student, alumna Hi Kyung Kim (professor of music at UC Santa to honor Andrew Imbrie. 7 Striggio Mass of 1567 Cruz), and composers Toru Takemitsu and Michio Mamiya, with whom Imbrie connected in “his Japan years.” The concert was followed by a lunch in Imbrie’s honor in Hertz Hall’s Green Room. 7–8 Retirements Andrew Imbrie was a distinguished and award-winning member of the Berkeley faculty from 1949 until his retirement in 1991. His works include five string quartets, three symphonies, numerous concerti, many works for chamber ensembles, solo instruments, piano, and chorus. His opera Angle of 8–9 In Memoriam Repose, based on Wallace Stegner’s book, was premeiered by the San Francisco Opera in 1976. -
Peter Liebersonbiography and W
Biography and Works Peter Lieberson “Like all of Lieberson's music, it is acutely, actively heard and written along every line, without padding. The composer handles his orchestra with imag- ination and with new, fertile invention; the string writing and the episodes for small, unusual ensembles are especially striking.” G. Schirmer and — The New Yorker Associated Music Publishers Peter Lieberson’s works first came to national enced by his practice of Tibetan Buddhism and in attention in 1983, with the premiere of his Piano particular by the teachings of Chogyam Trungpa. Biography Concerto, composed for Peter Serkin and com- missioned by Seiji Ozawa and the Boston Lieberson’s recent concert works include: Songs Peter Lieberson Symphony Orchestra (BSO) for their centennial. of Love and Sorrow, settings of a second group Andrew Porter wrote in The New Yorker that it of Neruda love sonnets for baritone Gerald Finley was a "major addition to the modern concerto and the Boston Symphony Orchestra; Remembering repertory." It was a finalist for the Pulitzer Prize JFK: An American Elegy, for narrator and orches- and the subsequent recording of the work won tra with selected excerpts from Kennedy speeches, Opus Magazine’s Contemporary Music Award for commissioned by the National Symphony Orchestra 1985. to commemorate the 50th anniversary of John F. Kennedy’s inauguration; Remembering Schumann Following that work’s success, Lieberson was for Yo-Yo Ma (cello) and Emanuel Ax (piano); and again commissioned by Ozawa and the BSO, The Coming of Light, for baritone, oboe, and which resulted in Drala (1986), "a short sympho- string quartet. -
Hie-Yon Choi Piano ______
Indiana University Summer Music 2014 EDWARD AUER PIANO WORKSHOP FACULTY RECITAL Hie-Yon Choi Piano _______________________ Sonata in C Minor, Op. 10 No. 1 ......................... Ludwig van Beethoven Allegro molto e con brio (1770-1827) Adagio molto Finale: Prestissimo From Monogramme (1998-2003) ..................................... York Höller Entrée (for Bernd Alois Zimmermann) (born 1944) Artikulation (for György Ligeti) Elegia giocosa (for Hans Werner Henze) Fluktation (for Elena Bashikirova) Intermission Sonata No. 3 (2010-11) ............................................... York Höller Sonata in C Minor, Op. 111 .............................. Ludwig van Beethoven Maestoso – Allegro con brio ed appassionato Arietta: Adagio molto semplice e cantabile _________________ Auer Concert Hall Friday Evening June Thirteenth Eight O’Clock IU Jacobs School of Music Fifth Program of the 2014-15 Season Indiana University Summer Music 2014 Hie-Yon Choi is established as one of the most sought-after pianists in Korea and is a rising presence in many of the world’s music festivals and concert houses. Since her first public appearance at the age of six with the Incheon Symphony, her solo and concerto performances have encompassed all the major halls and orchestras in Korea, as well as appearances with the National Symphony Orchestra in the Kennedy Center in Washington, D.C., and halls throughout the United States and the world. She has been a regular guest at the Seoul Spring Chamber Music Festival since 2010, as well as at the Musik Sommer in Ost Friesland (Germany) since 2007. She was the inaugural artist-in-residence at the Tong-Yeong International Music Festival in 2009. She participated as faculty in 2011 and 2012 at the CCM Prague International Piano Institute.