View PDF Document

Total Page:16

File Type:pdf, Size:1020Kb

View PDF Document l AMEPIC!\N a::IJETYCf UNlvEk51TY COV1RJSERS FALL, 1973/Vol. 6, No. 3 1974 NATIONAL CONFERENCE A limited number of performances will be possible through two New The Ninth Annual Conference of the York based groups. Those members who Society will be held February 22-24 in cannot provide their own performers New York. The Conference is chaired but would like to have works con­ this year by Gerald Warfield with the sidered should send scores (no more assistance of Ludmila Ulehla, John than two compositions) to John Selleck, _ and David Burge. Selleck, ASUC, c/o American Music The schedule of events (at this Center, Inc., 2109 Broadway, Suite point still tentative) begins with a 15-19, New York, N.Y. 10023. Pieces pre-Conference meeting of the National may be scored for almost any sized Council and Executive Committee, chamber group, although duplication of Thursday, February 21, 7:30 p.m., at instruments (i.e., two oboes, two the American Music Center. Scheduled flutes, etc.) may cause problems. for Friday in the auditorium of the Scores should be sent at once as Library and Museum of P e rforming Arts selectio n will be made as soon as at Lincoln Ce nte r are: r e gistra tion possible. at 10:00 a.m., a panel at 10:30 a.m., and a concert at 2:00 p.m. That A panel topic has been suggested evening there will be a concert at for the conference concerning various Manhattan School of Music followed methods or notati onal procedures for by a reception (also at Manhat tan) . c ontrolling time r e l a tionship s in non­ The morning and afternoon s e s sio ns me t r i c mus i c . Particular a tte ntion on Saturday will involve a 9: 3 0 a .m. wil l b e giv e n to the appl i cation of business meeting and a 2:00 p.m. the s e me thod s t o large e nsemble s. Any concert, both to be held at Columbia members who have ideas on this topic University in the School of (e spec ially with references to their International Affairs Conference own musi c) and are inte rested in Cente r. A conce rt in Carneg ie Recital partic i pating , s hould write to : Hall is scheduled for Sat u rda y a t William Pen n , Eastman Schoo l of Music , 8:00 in the ev e ning. The Confe ren ce Ro c h e ster, Ne w York 14604. The panel will close Sunday morning with a panel will consist mostly o f reading papers discussi on at 10:00 a.m. at Manhattan with a minimum of extemporaneous School of Music. comments . Any change s in this s chedule, along Suggestions f o r further pane l with additiona l informa t i on r egarding t opics sho uld be sent to Gerald the conce rts a nd pan e ls, will b e Wa rfield, c/o ASUC (see address a bove ). a nnounced i n t h e next News l e tter. One final item. At this confe rence The d e tails for performance s at t h e the p resentatio n of prepared p ape rs is Confe r e nce hav e no t b een comp letely being e ncouraged. Those o f you who worked out, but comp ose rs who can ha v e p ossible presenta tions on topic s provi d e the i r own per f orme r s s hould of inte r e s t t o o the r ASUC membe rs s e nd sco res, name s o f p e rforme rs , and s hould contact : Da v id Bu rge , 765 a tape o f a p e rforma nce (i f p o ssible ) 1 5th St r eet , Bould e r , Co lorado 8 0302. to: Ludmila Ulehla, 120 Lee Road ,1 Scars dale , New York 1058 3. ASUC RECORDING PROJECT Tape 3: TEMPE CONFERENCE Roger Harris Silent Things (1972) Victor Saucedo At this point there is still some Piano Music No. 11 doubt concerning the success of the Newton Strandberg recording project proposed at the ASK Ronald Pellegrino Tempe Conference. The total number S & H Explorations for Clarinet and of subscriptions and actual orders ARP 2600 Synthesizer (1972) did not warrant the initial pressing Tape 4: of 100 records. We would like to Burton Bee rman repeat the offer once again, for Misogamy for Tape and String Quartet subscription orders at $4.00 per Karel Husa record. It will be necessary to String Quartet No. 3 Edwin Lo ndon receive at least 5-0 subscription Poebells for Narrator, Singers and orders before pressing arrangements Pe rcussion Ensemble can be accomplished. Compositions selected by the executive committee for An order form for the recording and/or the recording are: tapes is printed on Page B of the Ronald Pellegrino Newslette r. S & H Explorations Carlton Gamer ASUC RADIO SHOW Piano Raga Music Edwin London Poe bells The Society now has a series of three Burton Beerman hour-lo ng radio programs in circulation Mi sogamy around the country. Stations c arrying Tapes of the Concerts are available t h e s how inc lude WBUR at Boston (prepaid) at $5.00 each or $18.00 for University and Boston educational the four concert series. The contents station WBGH. WCLV in Cleveland and of the tapes are as follows: WUOM at the University of Michigan have -~ Tape 1: requested the s e ries for programming. James Tenney Circulation should expand in the 'months Monody for Solo Clarinet (1959) Harold Oliver ahead as a result of a large mailing Discourses for A Cl ar i n e t Al one (1967) t his August t o nearly 100 stations not Ellio t Borishansky curren tly receiving the programs. Already Three Pieces for Solo Clarinet (197 2) thirty requests for audition tapes have Burton Beerman Sensa tions for Cl arinet and Tape (1969) been received from stations contacted Donald Martino through this mailing. The Radio Show is A Set for Cl arin e t (1954) a n excellent opportunity for ASUC members (The above pieces are performed by to h ave t heir works h eard by a large Phillip Re hfeldt, Univers ity of Redlands.) audience . Jonathan Kramer Biannual instead of annual production Music for Piano/ No. 4 (1969-72) of the shows seems feasible at this point provided there is increased parti­ Tape 2: Carl ton Gamer c i pation by ASUC members. The packaging Piano Raga Mu sic (1971) o f Program 4 is now p l a nned- for l ate Gerald Warfi e ld Novembe r a nd members a r e urged t o send Variations and Me t amorphosis for Ce llo . tapes at once noting t he following Ensemble Donald Macinnis requests: Vari ations on a The me by Webern for 1. Recordings should be half-track Cello and Two-Channel Tape stereo at 7~ - or 15 i ps and should Peter Racine Fricker b e on professional quality tape . Come , Sleep (t ext: Sir Philip Sidney) (1972) 2. Brief program note s , some S t e v e n Strunk biographical informa tion on t h e Quart e t No . II composer , and names of performers Michael Horvit should b e included. Antiphon for Clarinet and Electronic Tape (1971) 3. Permission by perf ormers for the Composers Assistance Program, American season September 23, with a concert Music Center , Inc., 2109 Broadway (at featuring new works by William 73rd), Suite 15-79, New York, N.Y. Hibbard, Peter Lewis, Donald Jenni, a 0023. work by Harley Gaber, and Stockhausen's Kontakte. NEWS FROM 1HE REGIONS Region VII held its annual con­ ference November 2 and 3, at the Region III held a conference University of Wyoming (Laramie) . October 20 at Towson State College, Host David Gordon did the organiza­ Maryland. The morning s e s s ion c on­ tional work . Presentations included s i sted o f a busine ss me eting in Tows on two c oncerts and several papers. State's new Fine Arts Building. The meeting involved: a discussion of Region VIII will hold a joint plans for attending the Ninth National conference with the Southern California Conference in New York City next year, section of the American Musicological plans for the next Region III Confe r e nce, Society, November 16-18, in the Music plans for conce rts o f members' works, Building of California State Unive rsity and n ews in the Regi o n. Chai rma n at San Diego. The p rogram will include: Gordon Cyr announced the implementation a concert of music by ASUC composers of a regional newsletter. Warner Hutchison, Barney Childs, Jerome The afternoon session f e atured the Margolis, Robert Stewart, Gunther playing of tapes by member compose rs. Tautenhahn, Joseph Julian, and Marshall The prog ram include d music by Gordon Bialoksy ; a l ecture by Jame s Te nney on Cyr, Jame s Gibs on, Jackson Hill, Preston the mu sic a nd life of Ca rl Ruggl es ; a Hutt, Robert Y. McMa ha n, and Claire l ecture e ntit l ed "Th e We ll-Pr epared Polin. Several Towson State College Piano" by Ric hard Bung er; a 12cture faculty members, including Dr. Gilbe rt on Schoe nbe r g 's s k e t c h e s a nd composi­ ~ungardt, Associate Dean of the Fi ne tiona l me tho d s by Leonard Ste in; a :ts Division, atte nde d the a fte rnoon l ecture by Stuart P e t ock e ntitled s ess i o n.
Recommended publications
  • Freier Download BA 73 Als
    BAD 73 ALCHEMY gebt mir nur ein bisschen brot egal gebt mir nur statt wein das wasser egal gebt mir nur vergilbte luft egal gebt mir nur statt licht die lüge egal gebt mir nur von allem mehr egal gebt mir nur statt wert den glit ter egal gebt und nehmt und nehmt und nehmt egal Apropos Lesen. Als Lektüren zu BA 73 liefen im Hintergrund mit Tibor Déry - Der unvollendete Satz Helmut Krausser - Fette Welt Jonathan Meese - Diktatur der Kunst Walter E. Richartz - Reiters Westliche Wissenschaft Schuiten / Peeters - Das Stadtecho Jeff VanderMeer - Die Stadt der Heiligen und Verrückten In 'Klassentreffen' (2004) von Jonathan Coe fand ich folgende nicht alltägliche Passage, die 2003 in der Lobby des Hotel Adlon spielt: "Mir ist eingefallen", sagte er... "dass ich mir mal eine Platte von Henry Cow gekauft habe... Und darauf gab es ein Stück mit dem Titel Upon Entering Hotel Adlon. Es beginnt mit einem Trommelwirbel und einer Art Urschrei, und dann bearbeiten die Musiker fünf Minuten lang wie die Verrückten ihre Instrumente. Das war die Art von Musik, die wir damals gehört haben." Damals, das ist die Zeit 20 Jahre zuvor, die Coe bereits in 'The Rotters Club' (2001, dt. 'Erste Riten') geschildert hat. Letztlich benannt nach einem Album von Hatfield and the North, war der Arbeitstitel 'Half Asleep, Half Awake' gewesen, ein weiteres Stück von Henry Cows 'Unrest'. 'Unrest' wiederum ist der Titel eines Work in progress, an dem einer der Protagonisten von 'Klassentreffen' schreibt. Von Coe hat Henry Cow die schöne Beschreibung "The Yardbirds getting into bed with Ligeti, then driving through the ruins of a divided Berlin" verpasst bekommen.
    [Show full text]
  • Newslist Drone Records 31. January 2009
    DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes.
    [Show full text]
  • Battles Around New Music in New York in the Seventies
    Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
    TANGLEWOOD Festival of Contemporary American Music August 14, 15, 16, 17, 18, 1966 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation I " STMVINSKY tt.VlOW agon vam 7/re Boston Symphony SCHULLER 7 STUDIES ox THEMES of PAUL KLEE BOSTON SYMPHONY ORCHESTRA/ERICH lEINSDORf under Leinsdorf Leinsdorf expresses with great power the vivid colors of Schuller's Seven Studies on Themes of Paul Kiee and, in the same album, Stravinsky's ballet music from Agon. Forthe majorsinging roles in Menotti's dramatic cantata, The Death of the Bishop of Brindisi. Leinsdorf astutely selected George London, and Lili Chookasian, of whom the Chicago Daily Tribune has written, "Her voice has the Boston symphony ecich teinsooof / luminous tonal sheath that makes listening luxurious. menotti Also hear Chookasian in this same album, in songs from the death op the Bishop op BRSndlSI Schbnberg's Gurre-Lieder. In Dynagroove sound. Qeonoe ionoon • tilt choolusun s<:b6notec,/ou*«*--l(eoeo. sooq of the wooo-6ove ac^acm rca Victor fa @ The most trusted name in sound ^V V BERKSHIRE MUSIC CENTER ERICH LeinsDORF, Director Joseph Silverstein, Chairman of the Faculty Aaron Copland, Chairman of the Faculty Emeritus Louis Speyer, Assistant Director Victor Babin, Chairman of the Tanglewood Institute Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director FELLOWSHIP PROGRAM Contemporary Music Activities Gunther Schuller, Head Roger Sessions, George Rochberg, and Donald Martino, Guest Teachers Paul Zukofsky, Fromm Teaching Fellow James Whitaker, Chief Coordinator Viola C Aliferis, Assistant Administrator The Berkshire Music Center is maintained for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D.
    [Show full text]
  • Rethinking Minimalism: at the Intersection of Music Theory and Art Criticism
    Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter Shelley A dissertation submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee Jonathan Bernard, Chair Áine Heneghan Judy Tsou Program Authorized to Offer Degree: Music Theory ©Copyright 2013 Peter Shelley University of Washington Abstract Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter James Shelley Chair of the Supervisory Committee: Dr. Jonathan Bernard Music Theory By now most scholars are fairly sure of what minimalism is. Even if they may be reluctant to offer a precise theory, and even if they may distrust canon formation, members of the informed public have a clear idea of who the central canonical minimalist composers were or are. Sitting front and center are always four white male Americans: La Monte Young, Terry Riley, Steve Reich, and Philip Glass. This dissertation negotiates with this received wisdom, challenging the stylistic coherence among these composers implied by the term minimalism and scrutinizing the presumed neutrality of their music. This dissertation is based in the acceptance of the aesthetic similarities between minimalist sculpture and music. Michael Fried’s essay “Art and Objecthood,” which occupies a central role in the history of minimalist sculptural criticism, serves as the point of departure for three excursions into minimalist music. The first excursion deals with the question of time in minimalism, arguing that, contrary to received wisdom, minimalist music is not always well understood as static or, in Jonathan Kramer’s terminology, vertical. The second excursion addresses anthropomorphism in minimalist music, borrowing from Fried’s concept of (bodily) presence.
    [Show full text]
  • Hybridity in Flute Music of Four Contemporary Composers
    HYBRIDITY IN FLUTE MUSIC OF FOUR CONTEMPORARY COMPOSERS Yeji Kim A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS December 2012 Committee: Marilyn Shrude, Advisor Robert W. Midden Graduate Faculty Representative Mary Natvig John Sampen © 2012 Yeji Kim All Rights Reserved iii ABSTRACT Marilyn Shrude, Advisor Hybridity is a concept that is widely discussed in the field of cultural studies. The term can be applied to anything that exhibits a fusion or mixture of elements and fades the demarcation between the elements. In music it is evident in the fusion of such disparate elements as old and new styles; electronic and acoustic media; Western and non-Western music; audio and visual components; classical and popular music; and the use of quotation. These elements are often combined in works that contribute to a hybrid musical vocabulary with a distinctive style, so that the points of departure are often blurred. Many recently composed works for flute demonstrate hybridity. The purpose of this document is to explore the concept of hybridity as evidenced in the flute works of four contemporary American composers and flutists: Cynthia Folio (b. 1954), Anne La Berge (b. 1955), Janice Misurell-Mitchell (b. 1946), and Maggi Payne (b. 1945). The study examines what brought about their hybrid approach to composition, as well as the relationship between their roles as both creator and presenter of works that demonstrate hybridity. Extensive email interviews, consultation of available sources, and analyses of compositions are the essential research tools.
    [Show full text]
  • Monsieur Délire: 2013-11-25/26: Copernicus, the Claudia Quintet
    Mer Nästa blogg» Skapa en blogg Logga in Portail du journalisme et de l'activisme musical de François Couture. INTRODUCTION | JOURNAL D'ÉCOUTE | DÉLIRE MUSICAL | DÉLIRE ACTUEL | FIMAV | MA PROPRE MUSIQUE Home of François Couture's music journalism and activism. INTRODUCTION | LISTENING DIARY | DÉLIRE MUSICAL | DÉLIRE ACTUEL | FIMAV | MY OWN MUSIC 2 0 1 3 - 1 1 - 2 7 CE François Couture 2013-11-25/26: Copernicus, The Claudia Quintet, Nouvel album solo / New solo Chrome Hoof, 21, Metal-o-Phone, Brigitte release Fontaine Libellés : 21, Brigitte Fontaine, Chrome Hoof, Claudia Quintet, Coax Records, Copernicus, Cuneiform, Journal d'écoute / Listening diary, Metal-o-Phone, Collaboration avec ®o©HLo / New Nevermore, Superior Viaduct collaboration with ®o©HLo Journal d'écoute / Listening Diary 2013-11-25/26 D'autres musiques sur / More music COPERNICUS / L’Éternité immédiate (Nervermore – merci à/thanks on: bandcamp soundcloud to Moonjune) J’aime bien Copernicus – son personnage, ses musiques, son propos. Les choix de Monsieur Délire / Or, avec L’Éternité immédiate, c’est la débandade. Je m’explique: en Monsieur Délire's current favs 2001, Copernicus enregistre Immediate Eternity en Équateur, avec des - Anthony Braxton: Quartet (FRM) musiciens équatoriens, en espagnol et en anglais. Il considère encore 2007 Vol. 4 aujourd’hui qu’il s’agit de son meilleur album en carrière. Au cours des - The Wrong Object: After the deux années suivantes, il a réenregistré des paroles en fançais et en Exhibition allemand. En 2013, à l’occasion d’une longue entrevue dans un - Dieuf-Dieul de Thiès: Aw Sa Yone, magazine français, son étiquette Nervermore a réédité L’Éternité Vol.
    [Show full text]
  • The Voice of New Music
    TOM Title The Voice of New Music by Tom Johnson New York City 1972-1982 JOHNSON A collection of articles originally published in the Village Voice Author Tom Johnson Drawings HE OICE Tom Johnson (from his book Imaginary Music, published by Editions 75, 75, rue T V de la Roquette, 75011 Paris, France) Publisher Editions 75 Editors OF NEW Tom Johnson, Paul Panhuysen Coordination HélènePanhuysen Word processing MUSIC Marja Stienstra NEW YORK CITY 1972 - 1982 File format translation Matthew Rogalski A COLLECTION OF ARTICLES ORIGINALLY PUBLISHED IN THE VILLAGE VOICE Digital edition Javier Ruiz Reprinted with permission of the author and the Village Voice ©1989 All rigths reserved [NEW DIGITQL EDITION BASED IN THE 1989 EDITION BY HET APOLLOHUIS] [Het Apollohuis edition: ISBN 90-71638-09-X] for all of those whose and for all that I ideas and energies learned from them became the voice of new music, Editions 75, 75 rue de la Roquette, 75011 PARIS http://www.tom.johnson.org/ Preface Index Introduction Index Index 1972 Index 1973 Index 1974 Index Index 1975 Index 1976 Index 1977 Index Index 1978 Index 1979 Index Index 1980 Index 1981 Index 1982 Music Columns in the Voice Editions 75, 75 rue de la Roquette, 75011 PARIS http://www.tom.johnson.org/ the Western musical tradition and to remove the barriers between different cultures and various artistic disciplines. That process is still in full swing. Therefore it is of interest today to read how that process was triggered. Tom Johnson has been the first champion of this new movement in music.
    [Show full text]
  • SCHIZO-CULTURE Sylvere Lotringer
    • -�- '42-- 42- A _ -f-a4t7"-f-@ 1-2 olume III, o. 1, �i:1-SeP 4� mI""'"� 13-16 42 - 1-8 42 3 1-4 42 - 5 5-8 '-- 76- 1- 16 I- 76-'j�_ --1 5 ..-;- -1-2' 35 1-4 S-;-B-- - -----j-8 I 7-8- ---:<5 1-4 \ '15-16. -A- 15 7-8 - � C TE.L 20 -A - 1-16 15 7-8 LYERE-2 5 -A- 10 3-4 -8- 35 1-2 D"ffiE 30 5-8 -A- -A- 35 1-2 D'-�ERE 35 3- 4 2 1-4 -A- 35 1-2 [)I G EO 4 0 9 1-4 10 J-4 II 3-4 49 1-4 DIG EO 45 4 J-8 6 1-2 8 1-4 49 1-4 DIG E(l 50 J 5-8 5 1-2 49 1-4 DISNEY 35 7 1-2 8 1-2 -A- 42 3-4 DISNE Y 40 2 7-8 4 7-8 6 42 3-4 DISNEY 45 3-8 2 9-16 31-2 42 3-4 IlU �NT 100 ,31-2 -8- -8- 131 3-4 DLJ eNT 10 21 1-2 23 1-4 24 1-4 31 3-4 Kat�� M!kerDLeeIBreUerD1 WilliamlBll rrou� JOMe Dav!d,i;iooRe �cdGlijetp _ el��zi� DouglassDonnDRichard-ForemanDMicbel_ iIl(}Imlult Joh�qfqr��DPhiiQ.��D �sDeI!fistop�e� KW�s Jfllto�FraJl�oisLyotardDiJjri ke M¢inliof32 GI LLETJack SmithDRobe1't'Wilsow 32 01 LET J5 - A -,1-16 1-8 32 G-WYR I') Land more J 17 3-il -A- {- IA us:t +0 .
    [Show full text]
  • The Group for Contemporary Music Harvey Sollberger and Charles Wuorinen, Directors Concerts and Repertoire 1962
    The Group for Contemporary Music Harvey Sollberger and Charles Wuorinen, Directors Concerts and Repertoire 1962 - lst Season 1. October 22, 1962, McMillin Theater, Columbia University Thomas Morley Christes Crosse (1597) Peter Westergaard Quartet for violin, vibraphone, clarinet, and cello( 1960) Peter Westergaard Trio for flute, cello, and piano (1962) Ritornellos and Variations Karlheinz Stockhausen Kreuzspiel (1951) Otto Luening Trio for flute, cello, and piano (1962) Ralph.Shapey Chamber Symphony (1962) 2. November 19, 1962, McMillin Theater Music from the Mensural Codex of Nikolaus Apel (late 15th century) George Perle Monody No. 1 for flute solo (1960) Ernst Krenek Flotenstuck Neunphasig, Part B (1959) Roman Haubenstock-Ramati Interpolation, mobile for flute (1959) Edward Staempfli Ornaments (1960) Pierre Boulez Sonatine (1946) 3. December 17, 1962, McMillin Theater Charles Wuorinen Bearbeitungen uber das Liederbuch (1477-88;1962) Raoul Pleskow Movement for Flute, Cello, and Piano (1962) Isaac Nemiroff Variations to a Theme (1958) Roger Reynolds Abrupt Antic Acceptance Acquaintances Donald Martino Cinque Frammenti for Oboe and String Bass (1961) Igor Stravinsky String Quartet Music (1959 & 1914) 4. January 14, 1963, McMillin Theater Matheus de Perusio Se je me plaing & Belle sans Per (ca. 1400) Anthonello de Caserta Amour m'a le cuer mis Ursula Mamlok Composition for Solo Cello (1962) Edgard Varese Density 21.5 for Flute Solo (1938, 1946) Harvey Sollberger Trio (1961) Olivier Messiaen Le Merle Noir (1952) Arnold Schoenberg Sechs Kleine Klavierstuecke, Op.19 (1913) Guillaume Dufay Vergine Bella (ca. 1425) Anton Webern Drei Kleine Stuecke, Op. 11 (1914) Anonymous ca. 1500 Jam Insignis, Jam Fulait 5. February 18. 1963, McMillin Theater Perotin? Benediciamus Domino (13th century) Matheus de Perusio Puisque je Sui (ca.
    [Show full text]
  • The Following Items Are for Sale / Trade. All Prices Are in Euro and Exclusive Postage. Payments Are Accepted in Cash, by Postal
    The following items are for sale / trade. All prices are in Euro and exclusive postage. Payments are accepted in cash, by postal IMO, bank transfer or PayPal (4% fees). If you have any questions, dont hesitate to ask me. And if you have a wantlist, feel free to send it. You can contact me at: [email protected] Maurizio ABATE - Armonicum LP, Qbico, ltd.26, handmade……………………................98 Euro special edition with handpainted coverartwork - Armonicum LP, Qbico, ltd.99……………………….........................……35 Euro great solo recordings by this Jooklo member - Silence, LP, Troglosound, ltd.num.140, blue Vinyl, one-sided............59 Euro - Third Dimension Blues LP, 8MM Records, ltd.100, handmade…..…..................…22 Euro new release with hand printed covers and inserts ABSOLUTE BODY CONTROL - Tapes 81-89 5LP & 7"-Box, V.O.D., ltd.num.50, white vinyl.....................298 Euro very limited special edition in wooden boxset Vito ACCONCI - Disallow (/New Humans) LP, Alga Marghen, ltd.300..............................................17 Euro collaborative performance with poet-artist-architect Acconci ADN' CKRYSTALL - Trilogie 1979-1988 3 x 10"-Box & 7", Vinyl On Demand, ltd.num.250.................45 Euro special members edition with bonus 7" AGENT SIDE GRINDER - The Transatlantic Tape Project LP, Enfant Terrible, ltd.500, Insert......................................12 Euro great new recordings, different to their other material - Irish Recording Tape LP, Petit Enfant, ltd.500, Insert.........................................12 Euro AH CAMA-SOTZ
    [Show full text]
  • CRI SD 299 Gaber/Hellermann/Zonn Harley Gaber 1
    CRI SD 299 Gaber/Hellermann/Zonn Harley Gaber 1. Ludus Primus (1966) ......................................................................................... (11:55) David Gilbert, Karl Kraber, flutes; Raymond Des Roches, vibraphone 2. Kata (1969) ........................................................................................................ (13:45) Linda Cummiskey, violin William Hellermann 3. Ek-Stasis II (1970) ............................................................................................. (9:00) Philip Corner, amplified piano; Michael Levenson, percussion, with electronic tape Paul Zonn 4. Chroma (1967) .................................................................................................. (8:30) Wilma Zonn, oboe; Arthur Maddox, piano Harley Gaber (b Chicago, 1943) began composition studies (with Horace Reisberg) while in high school, and subsequently has studied with Darius Milhaud, Kenneth Gaburo, Boris Porena, and Aldo Clementi in Italy and William Sydeman in New York. His music is written for a wide variety of vocal and instrumental combinations, with titles that reflect his thoughtful and inquiring disposition. Besides composing, he writes and lectures on musical subjects, is a graphics designer and is active in the organization and operation of musical organizations. He currently is (1972) general manager of New York’s Composers’ Forum. Gaber’s two compositions on this record represent quite different phases in the development of his musical thinking. The first, Ludus Primus (1966), is the earlier
    [Show full text]