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Roger Steptoe, Including a Performance Diary, May Be Found at for News of Recent Works, Please See
ROGE R STEPTOE Stainer & Bell CONTENTS Biographical Note .............................................................2 Orchestral Works ..............................................................3 Solo Voice and Orchestra ..................................................3 Solo Instrument and Orchestra .........................................4 Chorus and Orchestra ......................................................5 Works for Choir ................................................................6 Vocal Works......................................................................7 Chamber Music ................................................................8 Music for Strings ............................................................11 Music for Wind ...............................................................12 Music for Solo Piano .......................................................12 Discography....................................................................13 Note biographique ...........................................................14 Alphabetical List of Works ..............................................16 Please see the back cover for Ordering Information. Further information about the music of Roger Steptoe, including a performance diary, may be found at www.stainer.co.uk/steptoe.html For news of recent works, please see www.rogersteptoe.com September 2015 1 ROGER STEPTOE In a postmodern era often characterised by various aesthetic movements, it is especially enriching to encounter an artist like Roger Steptoe, -
OTHER WORLDS 2019/20 Concert Season at Southbank Centre’S Royal Festival Hall Highlights 2019/20
OTHER WORLDS 2019/20 Concert season at Southbank Centre’s Royal Festival Hall Highlights 2019/20 November Acclaimed soprano Diana Damrau is renowned for her interpretations of the music of Richard Strauss, and this November she sings a selection of her favourite Strauss songs. Page 12 September October Principal Conductor and Mark Elder conducts Artistic Advisor Vladimir Elgar’s oratorio Jurowski is joined by The Apostles, arguably Julia Fischer to launch his greatest creative the second part of Isle achievement, which of Noises with Britten’s will be brought to life elegiac Violin Concerto on this occasion with alongside Tchaikovsky’s a stellar cast of soloists Sixth Symphony. and vast choral forces. Page 03 Page 07 December Legendary British pianist Peter Donohoe plays his compatriot John Foulds’s rarely performed Dynamic Triptych – a unique jazz-filled, exotic masterpiece Page 13 February March January Vladimir Jurowski leads We welcome back violinist After winning rave reviews the first concert in our Anne-Sophie Mutter for at its premiere in 2017, 2020 Vision festival, two exceptional concerts we offer another chance presenting the music in which she performs to experience Sukanya, of three remarkable Beethoven’s groundbreaking Ravi Shankar’s works composed Triple Concerto and extraordinary operatic three centuries apart, a selection of chamber fusion of western and by Beethoven, Scriabin works alongside LPO traditional Indian styles. and Eötvös. Principal musicians. A love story brought to Page 19 Pages 26–27 life through myth, music -
Portrait Philip Venables Dossier De Presse
DOSSIER DE PRESSE PORTRAIT PHILIP VENABLES SERVICE DE PRESSE : Rémi Fort – [email protected] Yoann Doto – [email protected] 01 53 45 17 13 1 SOMMAIRE 3 | Biographie de Philip Venables 4 | Entretien avec Philip Venables 5 | Venables Plays Bach du 7 au 16 octobre 2021 Église Saint-Eustache 7 | Talking Music le 26 octobre 2021 Théâtre de la Ville | Espace Cardin 8 | 4.48 Psychosis Ensemble Intercontemporain le 16 décembre 2021 Philharmonie de Paris - Salle des concerts 2 BIOGRAPHIE Philip Venables Né en 1979, Philip Venables est un compositeur bri- tannique, connu pour son travail dans l’opéra et le théâtre. Il explore à travers ses créations des thèmes tels que la sexualité, la violence et la politique. Il fonde Sequenza et est le directeur artistique d’Endy- mion. Après des études de sciences naturelles, de psychologie expérimentale et de neuropsychologie, il se tourne vers la musique. Ses premiers sujets d’études marquent particulièrement ses créations. Il rejoint la Royal Academy of Music et devient l’élève de Philip Cashian. Il collabore entre autres avec Douglas Gordon et David Hoyle. Sa carrière marque un tournant dans la création musicale britannique, en étant le premier à adapter la pièce de Sarah Kane, 4.48 Psychosis au Lyric Theatre Hammersmith de Londre en 2016. Il obtient le prix UK Theatre Award en 2016 ainsi que celui de la Royal Philharmonic Society en 2017. Il devient associé de la Royal Academy of Music en 2016, et vie actuellement à Berlin. Il réalise en 2018 son premier album, Below the Belt. -
Program Notes
Advance Program Notes Crash Ensemble Wednesday, March 25, 2015, 7:30 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Crash Ensemble Donnacha Dennehy: Turn (arrangement for Crash Ensemble 2015) Dan Truman: Marbles (2015) world premiere Intermission Eric Lyon: Dualities (2015) world premiere Michael Gordon: Dry (2013) U.S. premiere Musicians Conductor Anna Cashell, violin Alan Pierson Lisa Dowdall, viola Kate Ellis, cello Production Malachy Robinson, double bass Susan Doyle, flute Adrian Hart, production manager and electronics Deirdre O’Leary, clarinet/bass clarinet Valerie Francis , front of house sound engineer Roddy O’Keeffe, trombone Alex Petcu, percussion Management Isabelle O’Connell, piano John Godfrey, electric guitar Kate Ellis, artistic director Donnacha Dennehy, artistic partner Neva Elliott, CEO Jonathan Pearson, tour/concerts manager Program Notes TURN (2013-14; arrangement for Crash Ensemble, 2015; U.S. premiere) DONNACHA DENNEHY This intricate, detailed piece is one of the most overtly melodic of my purely instrumental works in years. Gently lunging melodies combine to produce a bustling tapestry of sound. Turn literally turns over its phrases, varying upon each repetition. Once I decided to dedicate this piece to my mother, an inveterate knitter, it struck me: that’s exactly what a turn is in knitting, a reworking on top of an already established stitched pattern! On a larger level Turn pushes towards build-ups that end each time with a literal turn in direction. This in a major way constitutes the modus operandi of the piece. -
NMC227-Matthews-Wyastone Booklet-28-04-16.Indd
Colin Matthews Violin Concerto Cortège Cello Concerto No.2 Leila Josefowicz violin BBC Symphony Orchestra Oliver Knussen conductor Anssi Karttunen cello Rumon Gamba conductor Royal Concertgebouw Orchestra Riccardo Chailly conductor 2 Violin Concerto 20’00 1 Movement 1 10’38 Colin 12 Movement 2 9’22 Leila Josefowicz violin Matthews BBC Symphony Orchestra Oliver Knussen conductor Recorded live by BBC Radio 3 for the BBC Proms 3 Cortège 18’35 Royal Concertgebouw Orchestra Riccardo Chailly conductor Cello Concerto No.2 26’40 4 I Declamation. Sostenuto 4’40 5 II Song without text. Molto sostenuto 4’00 6 III Scherzo. Allegro energico 4’40 7 IV Song without text. Sostenuto 4’09 8 V Resolution. Sostenuto - Vigoroso 9’41 Anssi Karttunen cello BBC Symphony Orchestra • Rumon Gamba conductor Total 66’09 Rumon Gamba appears on this recording with the kind permission of Chandos Records Riccardo Chailly appears courtesy of Decca Music Group photo © Fiona Garden The critic Paul Griffiths, as usual, hits at least one nail on the in 2012, the other, from 2015, And there has, of course, been head. Colin Matthews, he writes, is “… the Isambard Kingdom another restrained work exploring more orchestral music. Traces Brunel of contemporary music: master of great time machines, silence, bring the tally to five. For Remain (2012-13) is an ingenious Claire Booth he has set Rilke in the summoning back and re-imagining steamy with energy derived from pulse and from massive, short cycle The Island (composed of discarded or unfinished fragments surging harmony, and openly displaying their structural in 2007-8, exactly a hundred years of others’ work, primarily the Robert engineering, all finished with a craftsman’s care.” after the words were written), Johnson lute song which may be accompanying soprano with seven all that remains of Shakespeare’s Since the inevitable but helpfully composer, made orchestral versions instruments. -
7. Hollingworth
Action, Criticism, and Theory for Music Education July 2019. Vol 18 (2): 147–56. doi:10.22176/act18.1.147 String Quartet as Autoethnography: The Writing of Out of the Snowstorm, an Owl (2014–17) Lucy Hollingworth My string quartet, “Out of the Snowstorm, an Owl” was begun in 2014, but personal circumstances delayed its completion until 2017. It received its premiere at the Royal Conservatoire of Scotland in 2018, performed by the Brodick Quartet. In the present inquiry, I will explain how this music was created in response to the transformation of my life and the recovery of my lost career as a composer, and was also impacted by a devastating bereavement that I experienced during the three years of its incubation. I will situate the circumstances surrounding the piece within the context of the creative lives of other women composers with particular reference to Ruth Crawford and Ethel Smyth, and I will explore how a piece of music can function as part of a creative autoethnography. The full score and a recording of “Out of the Snowstorm, an Owl” is provided to elaborate and elicit enhanced meanings for the reader. Keywords: autoethnography, Ethel Smyth, Ruth Crawford, string quartet, woman composer You went out and told me that ... I should go and walk in the picnic area. I did, sometime around noon, the snow was deep and it was difficult to walk around. My feet made lots of holes in the snow. I stood by the burn and cried. I was out in the snow for about half an hour. -
IMMA Collection: Freud Project 2016 - 2021 Introduction
IMMA FREUD CENTRE IMMA Collection: Freud Project 2016 - 2021 Introduction Since 2016 IMMA has presented the IMMA Collection: Freud Project, a five year loan to the Collection of 52 works by Lucian Freud (1922-2011), one of the greatest realist painters of the 20th century. 2021 is the final year of the Freud Project at IMMA and as we emerge from the global effect of Covid-19 we are delighted to bring to our audiences as our concluding programme or ‘finissage’, a combination of digital and physical elements, the exhibition The Artist’s Mother: Lucie and Daryll – a response by Chantal Joffe; The Maternal Gaze, a series of short videos by 22 artists and creatives in response to the theme of the Artist’s Mother and Soul Outsider, a new contemporary music commission composed by Deirdre Gribbin and performed by Crash Ensemble, in a recording that accompanies Freud’s portraits in the Freud Centre. www.imma.ie/whats-on/imma-collection-freud-project-the-artists-mother Front cover Lucian Freud, The Painter’s Mother Resting I, 1976, Oil on canvas, 90.2 x 90.2 cm, Collection Irish Museum of Modern Art, On Loan, Private Collection © The Lucian Freud Archive / Bridgeman Images 2 Chantal Joffe My Mother with Fern, 2017, Oil on canvas, 40.8 x 31.3 cm © The artist 3 The Artist’s Mother: Lucie and Daryll - a response by Chantal Joffe Room One We invited artist Chantal Joffe to begin a dialogue with Lucian Freud’s portraits of his mother as part of our ongoing programme in the context of the Freud Project. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
Gerald Barry's the Intelligence Park
Gerald Barry’s opera The Intelligence Park at IMMA Gerald Barry’s opera, The Intelligence Park, widely regarded as one of the most innovative and compelling operas of recent times, will be presented in a concert performance at the Irish Museum of Modern Art on Wednesday 18 May 2011. Described by The Irish Times in 1990 as “the most original piece of music to come out of Ireland this century”, the opera is set in Dublin in 1753 and embraces love, power, prison and an eclipse of the sun. Presented in collaboration with Crash Ensemble, the production forms part of an exciting season of performances being staged at IMMA in May to mark the 20th anniversary of the Museum’s foundation in 1991. The Intelligence Park, to a libretto by Vincent Deane, tells of a composer, Robert Paradies, who has lost the power to write but rediscovers it through his obsession with an Italian singer, the castrato Serafino. However, a triangular love affair involving Paradies, Serafino and Jerusha – the daughter of a wealthy merchant whom Paradies has been advised to marry but who is also the object of Serafino’s affections – complicates matters, bringing with it anger, betrayal and a conflict between private love and public duty. When first produced in London for the Institute of Contemporary Arts/Almeida Festival in 1990, it met with an extraordinary critical response. For The London Evening Standard it was “a clenched fist of an opera.” The Independent said that “the joy of the opera… is that it is driven by music of an energy and pace unheard of in most contemporary work. -
Adventures in Film Music Redux Composer Profiles
Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017). -
News Section
100 Tempo 63 (249) 100–104 © 2009 Cambridge University Press doi:10.1017/S0040298209000291 Printed in the United Kingdom news section Composers diana burrell Concerto for Violin with Singer Notes of premières of new works run from three months and Three Ensembles (première) – 15 June London, before to three months following publication of this issue, Christ Church, Spitalfields (Spitalfields Festival)/ i.e. from 1 April to 30 September 2009. There is therefore Trinity College of Music Contemporary Music a three-month overlap between issues, and omissions and Group. late news for the three ‘following’ months of the current issue will be picked up in the three ‘prior’ months of the jonathan dove There Was a Child (première) – next. News of more distant forthcoming premières is given 2 May Norwich, St Andrew’s Hall / Mary Plazas more briefly; full details will be found in subsequent issues. (sop), Toby Spence (ten), City of Birmingham thomas adès Symphony Orchestra, Norwich Festival Chorus, Lieux Retrouvés (première) – 21 June Hewett School Choir c. David Parry. Piano Quintet Snape Maltings, Aldeburgh Festival / Steven Isserlis (première) – 13 June London, Wilton’s Music Hall (vlc), composer (pno). (Spitalfields Festival) Schubert Ensemble. kalevi aho The Bells, Concerto for saxophone quar- tet and orchestra (première) – 23 April Helsinki / brian elias Doubles (première) – 16 May London, Rascher Quartet, Helsinki PO c. John Storgårds. Barbican / BBC Symphony Orchestra c. Jirˇi Beˇlohlávek. julian anderson Fantasia (UK première) – 19 June Aldeburgh Festival / Pierre-Laurent Aimard (pno), anders eliasson Quo Vadis (première) – 15 May BBC Symphony Orchestra c. George Benjamin. Stockholm / Michael Weinius (ten), Swedish Radio Shir Hashirim (première) – 10 August Tanglewood Choir, Swedish Radio SO c. -
One of the Pleasures of Spitalfields Music's
“ One of the pleasures of Spitalfields Music’s festivals is their human warmth.” Daily Telegraph, June 2012 “ I will never forget that day – people stood up and they were cheering!” Phoenix School participant, June 2012 Spitalfields Music ANNUAL REVIEW 2011/12 1 WELCOME Welcome to our annual review of prestigious Royal Philharmonic importantly though, participation 2011/12. This was a year of which Society Music Awards with not in the arts is one of the best all those who work in Spitalfields one, but two, awards. ways to develop individuality and Music and all its supporters can creativity, which in turn develop all be proud. Our aim is to stimulate Of course none of this would of those components which make so enthusiastic a response to be possible without the efforts for successful, happy people who the music we provide in our two of a great number of people. achieve things both for themselves Festivals, Summer and Winter, One of the most inspiring things and for others. The risk seems that we can maintain and increase about Spitalfields Music is that it twofold: firstly, of course, that our year-round Learning & all happens through the force of spending in this area is reduced Participation Programme in our collective endeavour. I am grateful to such a level as to endanger the CONTENTS local community in Tower Hamlets. to our 100+ volunteers, our brilliant arts and what they can achieve; We can claim to have gone a long staff team and our many different and secondly that thinking around way to achieving that aim: our supporters, from our three creativity and its value is lost from Festivals were acknowledged to be statutory funders Arts Council public policy.