Nov. 2017 Program Layout 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
OPENINGSCONCERT: the GARDEN ASKO|SCHÖNBERG / SLAGWERK DEN HAAG 5 September 2018 - 20:30
OPENINGSCONCERT: THE GARDEN ASKO|SCHÖNBERG / SLAGWERK DEN HAAG 5 september 2018 - 20:30 Grote Zaal: Openingsspeech: Henk Heuvelmans, directeur Gaudeamus Muziekweek Pauline Pisa, Utrechts Stadsdichtersgilde 50: (The Garden) (2018, 55’00) wereldpremière in opdracht van Asko|Schönberg en London Sinfonietta Componist Richard Ayres (GBR 1965) jurylid Gaudeamus Award 2018 door Asko|Schönberg o.l.v. Bas Wiegers Martha Colburn - visuals Joshua Bloom - basbariton Op de roltrap: Follow and Listen (2018, 7’00) wereldpremière Componist Georgia Nicolaou (CYP 1990) door Slagwerk Den Haag Hertz: flieht wie ein Schatten (2016, 7’00) Componist William Kuo (CAN 1990) genomineerd Gaudeamus Award 2018 door Asko|Schönberg o.l.v. Bas Wiegers the new normal (2016, 8’00) Componist William Dougherty (USA 1988) genomineerd Gaudeamus Award 2018 door Asko|Schönberg o.l.v. Bas Wiegers Asko|Schönberg Bas Wiegers - dirigent Ned McGowan - fluit, piccolo, basfluit Marieke Schut - hobo David Kweksilber - klarinet, basklarinet Anna voor de Wind - basklarinet, contrabasklarinet Amber Mallee - fagot, contrafagot Wim Timmermans - hoorn Eline Beumer - trompet, piccolotrompet Koen Kaptijn - trombone, euphonium Pauline Post - piano, keyboard Joey Marijs - slagwerk Joseph Puglia - viool Marijke van Kooten - viool Liesbeth Steffens - altviool Sebastiaan van Halsema - cello Quirijn van Regteren Altena - contrabas Lauge Dideriksen - audio sampler Tatiana Rosa - video operator Slagwerk Den Haag Antonio Bove Antonio Josselin Gabriele Segantini Frank Wienk The Garden is mede mogelijk -
Federico Ibarra - a Case Study
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-29-2019 11:00 AM Contexts for Musical Modernism in Post-1945 Mexico: Federico Ibarra - A Case Study Francisco Eduardo Barradas Galván The University of Western Ontario Supervisor Ansari, Emily. The University of Western Ontario Co-Supervisor Wiebe, Thomas. The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Francisco Eduardo Barradas Galván 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons, and the Music Performance Commons Recommended Citation Barradas Galván, Francisco Eduardo, "Contexts for Musical Modernism in Post-1945 Mexico: Federico Ibarra - A Case Study" (2019). Electronic Thesis and Dissertation Repository. 6131. https://ir.lib.uwo.ca/etd/6131 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the musical modernist era in Mexico between 1945 and the 1970s. It aims to provide a new understanding of the eclecticism achieved by Mexican composers during this era, using three different focal points. First, I examine the cultural and musical context of this period of Mexican music history. I scrutinize the major events, personalities, and projects that precipitated Mexican composers’ move away from government-promoted musical nationalism during this period toward an embrace of international trends. I then provide a case study through which to better understand this era, examining the early life, education, and formative influences of Mexican composer Federico Ibarra (b.1946), focusing particularly on the 1960s and 1970s. -
A Performance Guide to George Rochberg's Caprice Variations For
A Performance Guide to George Rochberg’s Caprice Variations for Solo Violin by YUNG-YU LIN A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by YUNG-YU LIN 2020 A Performance Guide to George Rochberg’s Caprice Variations for Solo Violin YUNG-YU LIN Doctor of Musical Arts Faculty of Music University of Toronto 2020 Abstract The American composer George Rochberg’s Caprice Variations, composed in 1970, draws on a vast array of historical stylistic references from the Baroque to the modern musical periods. For Rochberg serialism, arguably the most influential compositional technique of the twentieth century, could no longer convey the full extent of what he wanted to express in his music. After the death of his son Paul in 1964, he determined to renew his musical language by returning to tonality, yet without abandoning a twentieth-century musical idiom. His Caprice Variations marks one of his first attempts to bring together the two polar opposite worlds of tonality and atonality. This one-and-a-half-hour-long work for solo violin is based on the theme from Paganini’s 24 Caprices for Solo Violin, Op.1, No. 24, and presents a wide range of technical challenges for the violinist. Since the piece is long, difficult to play, and now fifty years old, a performance guide to assist violinists is a useful contribution to the pedagogical literature. With a thorough analysis of the piece, and a consideration of both compositional and violin practice issues, as well as discussions with the original editor of the work and two violinists who have recorded it, ii my research will offer a complete performance guide for performers, advanced violin students, and violin teachers to assist them in achieving a deeper understanding of the work and a high level of artistic performance. -
Download Booklet
Credits works by Executive producer: Jonathan Golove. Nicandro Tamez Recording producer: Omar Tamez. Leandro Espinosa Session producers: Karl Toews (Tracks 1, 3-4, 6-8) and Omar Tamez (2,5). Mario Lavista Omar Tamez Audio engineer and editing: Chris Jacobs. Manuel de Elías Location: Lippes Concert Hall in Slee Hall, University at Buffalo, The State University of New York. Liner notes: Jonathan Golove, except where noted. Stephen Manes, piano Cover painting: Ubudo by Teresita Soto, based on Nicandro Tamez’s score of the same title. Emilio Tamez, percussion Publishers Nicandro Tamez’s Introduccíon al Duo I and Monomaquia I are available from Omar Tamez. Leandro Espinosa’s Duo “De la Obscuridad a la Luz” is available from the composer. Mario Lavista’s Cuaderno de viaje and Quotations are published by Ediciones Mexicana de Musica, A.C. Omar Tamez’s Las Voces Internas is available from the composer. Manuel de Elías’ Homérica is available from the composer. Acknowledgements This recording was made possible by the support of the University of Buffalo and the UB Department of Music. I wish to thank members of the University of Buffalo staff, Phil Rehard, concert manager, and Gary Shipe, piano technician, and UB faculty percussionist Tom Kolor, for their gracious assistance with this project. Thanks also to David Felder and the Robert and Carol Morris Center for 21st Century Music and Margarita Vargas and the UB Gender Institute for additional support, as well as to Ana R. Alonso-Minutti for her program notes and translation assistance. WWW.ALBANYRECORDS.COM TROY1235 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. -
Cabrillo Festival of Contemporarymusic of Contemporarymusic Marin Alsop Music Director |Conductor Marin Alsop Music Director |Conductor 2015
CABRILLO FESTIVAL OFOF CONTEMPORARYCONTEMPORARY MUSICMUSIC 2015 MARINMARIN ALSOPALSOP MUSICMUSIC DIRECTOR DIRECTOR | | CONDUCTOR CONDUCTOR SANTA CRUZ CIVIC AUDITORIUM CRUZ CIVIC AUDITORIUM SANTA BAUTISTA MISSION SAN JUAN PROGRAM GUIDE art for all OPEN<STUDIOS ART TOUR 2015 “when i came i didn’t even feel like i was capable of learning. i have learned so much here at HGP about farming and our food systems and about living a productive life.” First 3 Weekends – Mary Cherry, PrograM graduate in October Chances are you have heard our name, but what exactly is the Homeless Garden Project? on our natural Bridges organic 300 Artists farm, we provide job training, transitional employment and support services to people who are homeless. we invite you to stop by and see our beautiful farm. You can Good Times pick up some tools and garden along with us on volunteer + September 30th Issue days or come pick and buy delicious, organically grown vegetables, fruits, herbs and flowers. = FREE Artist Guide Good for the community. Good for you. share the love. homelessgardenproject.org | 831-426-3609 Visit our Downtown Gift store! artscouncilsc.org unique, Local, organic and Handmade Gifts 831.475.9600 oPen: fridays & saturdays 12-7pm, sundays 12-6 pm Cooper House Breezeway ft 110 Cooper/Pacific Ave, ste 100G AC_CF_2015_FP_ad_4C_v2.indd 1 6/26/15 2:11 PM CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SANTA CRUZ, CA AUGUST 2-16, 2015 PROGRAM BOOK C ONTENT S For information contact: www.cabrillomusic.org 3 Calendar of Events 831.426.6966 Cabrillo Festival of Contemporary -
JULY 2013 Here’S What’S from the Editor Welcome to the July 2013 Edition of the AAA Newsletter
AMERICAN ACCORDIONISTS’ ASSOCIATION Newsletter A bi-monthly publication of the American Accordionists’ Association JULY 2013 Here’s What’s From the Editor Welcome to the July 2013 edition of the AAA Newsletter. Happening at The excitement builds as we rapidly approach the AAA’s Gala 75th Anniver- AAA in 2013 sary, a milestone for any organization and an event not to be missed! As we prepare to join together in New York next month for our Anniversary JULY 26-28, 2013 Festival, we take a moment to reflect on the sad loss of several of our AAA friends Master Class and Concert who we have recently lost. The AAA lost two of our outstanding officers within Series - The Seminars days of each other, Carmen Carrozza and Dr. Carmelo Pino. Unbelievably, we The Accordion is 3D then lost two long time AAA supporters August Arruda and Robert Paolo, also Tenri Cultural Institute within a very short time. We will miss them all greatly, but know they would 43A W.13th Street, NYC wish us well, as we celebrate our milestone 75th Anniversary event. We offer Moderator/Curator our sincerest condolences to all their families and friends, and we will always cherish the many happy William Schimmel memories of sharing their friendship through the accordion. Once again my sincere thanks to the AAA President Linda Reed and Board of Director Rita David- AUGUST 14-18, 2013 son for their kind assistance with the AAA Newsletter. Items for the September Newsletter can be AAA 75th Anniversary The New Yorker Hotel sent to me at [email protected] or to the official AAA e-mail address at: 8th Ave. -
CMS Fifty-Ninth National Conference October 27–29, 2016 Santa Fe, New Mexico
CMS Fifty-Ninth National Conference October 27–29, 2016 Santa Fe, New Mexico PRESENTER & COMPOSER BIOS updated September 12, 2016 Alberti, Alexander Alex Alberti is the current director of instrumental music at Longleaf School of the Arts in Raleigh, North Carolina. He also works with the Middle Creek High School marching band, instructing front ensemble and percussion. Alberti formerly taught at Southern Lee High School in Sanford, where he directed band, orchestra, and chorus, as well as an extracurricular a cappella program. Alberti is an active researcher in the field of music theory pedagogy and music education, presenting his findings at NAfME, CMS National, and NCUR. Alberti currently holds a Bachelor of Music Education degree from Appalachian State University with a minor in Psychology. At Appalachian State, he participated in the wind ensemble, concert band, men’s glee club, symphonic band, and orchestra, while serving as a music theory tutor for the entire sequence of theory and aural skills courses. In his spare time, Alberti composes both choral and instrumental works, judges for the International Competition for Collegiate A Cappella, and participates in the Durham Chorale. Alhadeff, Peter Peter Alhadeff is a Professor and a founding faculty member of the Music Business/Management Department at Berklee. He is a distinguished Oxford economist and historian who has a made his own unique and successful career in the US music business. Alhadeff has published and been engaged by the National Academy of Recording Arts and Sciences, the Harvard Berkman Center, the Latin Grammy, the Interamerican Bank at the Di Tella Institute in Buenos Aires, and the Business and Economics Society International, for which he delivered the keynote address on the state of the music trade in Athens, Greece. -
Boston Symphony Orchestra Concert Programs, Summer, 1989
I nfflfn ^(fe£k i^£to^ Wfr EDITION PETERS »8@ ^^ '^^ ^p52^ RECENT ADDITIONS TO OUR CONTEMPORARY MUSIC CATALOGUE P66905 George Crumb Gnomic Variations $20.00 Piano Solo P66965 Pastoral Drone 12.50 Organ Solo P67212 Daniel Pinkham Reeds 10.00 Oboe Solo P67097 Roger Reynolds Islands From Archipelago: I. Summer Island (Score) 16.00 Oboe and Computer-generated tape* P67191 Islands from Archipelago: II. Autumn Island 15.00 Marimba Solo P67250 Mathew Rosenblum Le Jon Ra (Score) 8.50 Two Violoncelli P67236 Bruce J. Taub Extremities II (Quintet V) (Score) 12.50 Fl, CI, Vn, Vc, Pf P66785 Charles Wuorinen Fast Fantasy (Score)+ 20.00 Violoncello and Piano P67232 Bagatelle 10.00 Piano Solo + 2 Scores neededforperformance * Performance materials availablefrom our rental department C.F. PETERS CORPORATION I 373 Park Avenue South, New York, NY 10016 • (212) 686-4147 J 1989 FESTIVAL OF CONTEMPORARY MUSIC Oliver Knussen, Festival Coordinator 4. J* Sr* » sponsored by the TANGLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director Gilbert Kalish, Chairman of the Faculty I Lukas Foss, Composer-in-Residence Oliver Knussen, Coordinator of Contemporary Music Activities Bradley Lubman, Assistant to Oliver Knussen Richard Ortner, Administrator James E. Whitaker, Chief Coordinator Harry Shapiro, Orchestra Manager Works presented at this year's Festival were prepared under the guidance of the following Tanglewood Music Center Faculty: Frank Epstein Joel Krosnick Lukas Foss Donald MacCourt Margo Garrett Gustav Meier Dennis Helmrich Peter Serkin Gilbert Kalish Yehudi Wyner Oliver Knussen 1989 Visiting Composer/Teachers Bernard Rands Dmitri Smirnov Elena Firsova Peter Schat Tod Machover Kaija Saariaho Ralph Shapey The Tanglewood Music Center is maintained for advanced study in music and sponsored by the Boston Symphony Orchestra. -
BASULTO-DISSERTATION-May 19-B
An Introduction to the Life and Work of Javier Alvarez by Alejandro Basulto Martínez A thesis submitted to the Moores School of Music, Kathrine G. McGovern College of the Arts in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Conducting with an emphasis in Opera Conducting Chair of Committee: Howard Pollack Committee Member: Raymond Harvey Committee Member: Timothy Koozin Committee Member: Rob Smith University of Houston May 2021 Copyright 2021, Alejandro Basulto Martínez DEDICATION To Silvana Batllori. iii ACKNOWLEDGMENTS My sincerest gratitude to the National Fund for Culture and Arts (Fondo Nacional para la Cultura y las Artes, FONCA), the National Council of Science and Technology (Consejo Nacional de Ciencia y Tecnología, CONACYT), as well as the Schissler Foundation, for financially supporting my studies. I would like to thank my committee chair, Dr. Howard Pollack, who has spent countless hours giving valuable advice. Thank you to the other members of my committee—Dr. Raymond Harvey, Dr. Tim Koozin, and Dr. Rob Smith—for your support and knowledge. To Dr. Barbara Rose Lange, thank you for guiding the beginnings of this research documents. To Madelyn Washington and her team at the UH Music Library, thank you for helping me find valuable sources. Thank you to Marley Foster, from the UH Writing Center, who revised this document several times. A special thank you to Dr. Daniel Castro Pantoja, for sharing his passion and knowledge of Latin American music. I would also like to thank Dr. Javier Alvarez, who granted me access to his personal files and has always been available to answer my questions. -
Mario Lavista
Música para charlar Música para charlar is the title of a piece by Silvestre Revueltas, and can be translated as “chit-chat” or “background music.” Hopefully, the music on this concert will mark the beginning of a fruitful dialogue between those who make music on both sides of the border: some small talk over the picket fence that separates our neighboring backyards or, as Revueltas would have liked it, a frank exchange of ideas over, let’s say, a few glasses of tequila. —Carlos Sanchez-Gutierrez This concert is made possible in part by major grants from the US-Mexico San Francisco Contemporary Music Players Fund for Culture and the Clarence E. Heller Charitable Foundation. We thank also the Zellerbach Family Fund and the William and Flora Hewlett Monday, May 13, 2002 at 8 pm Foundation for their support of this evening’s program. Center for the Arts Theater Carlos Sanchez-Gutierrez’s Clyde Beatty is Dead was commissioned with a grant from the Fromm Music Foundation at Harvard University, which has also helped to underwrite this premiere performance. Música para charlar JAVIER TORRES MALDONADO Performers Figuralmusik II (1996) U.S. Premiere Tod Brody, flute William Wohlmacher, clarinet RICARDO ZOHN-MULDOON Blair Tindall, oboe Danza Nocturna (1986, rev. 1989) Rufus Olivier, bassoon Gianna Abondolo, cello Lawrence Ragent, horn Julie Steinberg, piano Charles Metzger, trumpet I William Winant, percussion Ralph Wagner, trumpet II Hall Goff, trombone UAN RIGOS Peter Wahrhaftig, tuba J T Roy Malan, violin I Ricercare II (1993, rev. 1998) -
Laboratoire Instrumental Européen European Instrumental Laboratory Lieu Laboratoire Instrumental Européen European Instrumental Laboratory
lieu 2009 - 2011 Laboratoire Instrumental EUropéen European Instrumental Laboratory lieu Laboratoire Instrumental EUropéen European Instrumental Laboratory “The LIEU (Laboratoire Instrumental EUropéen), is dedicated to the diffusion of contemporary musical creation. Its purpose is the construction of a European network of partners united by a charter of quality and challenge. It favours creation, exchanges between groups, structures and European composers, as well as the circulation of works and artistes from all over the world. $ÀUVWWZR\HDUSURMHFWKDVEHHQODXQFKHGIRUZKLFKWKH7KpkWUH Dunois in Paris is the base. This small Parisian theatre receives each of the ensembles of LIEU in residence alongside the Ensemble Aleph, at the initiative of the network. All partner structures also receive, in turn, events organised by LIEU. Over two years, there have thus been VRPHÀIW\PXVLFLDQVLQYROYHGDQGPRUHWKDQZRUNVSUHPLHUHGLQ some thirty events in eight European countries (Germany, Finland, France, Greece, Latvia, the Netherlands, Portugal and Slovenia). 7KLV SURMHFW LV DLGHG E\ WKH (XURSHDQ &RPPLVVLRQ DV SDUW RI LWV &XOWXUHSURJUDPPHµ Summary LIEU - THE NETWORK ........................... 2 Map of the network ................................................... 4 ([FKDQJHH[SORUHeFKDQJHUH[SORUHU ................. 6 7KHPRUHWKHVWURQJHU6HUDVVHPEOHUSRXUPLHX[ exister ............................................................................ 8 7KHDLPVRIWKHQHWZRUN2EMHFWLIVGXUpVHDX ..... 10 $FWLRQV$FWLRQV ...................................................... -
ANNUAL SEMINAR on CONTEMPORARY MUSIC for the YOUNG April 9 – 11, 2021 Keeril Makan, Commissioned Composer
42nd ANNUAL SEMINAR ON CONTEMPORARY MUSIC FOR THE YOUNG April 9 – 11, 2021 Keeril Makan, Commissioned Composer THE RIVERS SCHOOL CONSERVATORY Gabriella Sanna, Director Lindsey Robb, Assistant Director Ethel Farny, Seminar Chair A. Ramón Rivera, Director Emeritus 333 WINTER STREET, WESTON, MA 02493 WWW.RIVERSSCHOOLCONSERVATORY.ORG | 781-235-6840 i T became clear t H at i should stay in E urope not kill M yself by going back and forth across the ocean b U t I couldn't get out of that engagement in we S ton Massachusetts "three hundred ch I ldren devoted to modern musi C " I couldn't believe it S o instead of going from rome to C ologne i H ad t O cr O ss the ocean two extra times and here I am seventy years o L d but I don't regret it the children pl A yed beau T ifully and the pa R ents were w I de awake the day remains V ividly in my mind the school n E eds suppo R t here' S hoping they get it! John Cage Seminar Guest 1983 THE RIVERS SCHOOL CONSERVATORY The 42nd Annual Seminar on Contemporary Music for the Young April 9, 10, & 11, 2021 Gabriella Sanna, Director, The Rivers School Conservatory Chair, Rivers Performing Arts Department A. Ramón Rivera, Director Emeritus Lindsey Robb, Assistant Director Ethel Farny, Seminar Chair The Rivers School Conservatory 333 Winter Street, Weston, Massachusetts 781-235-6840 www.riversschoolconservatory.org THE SEMINAR ON CONTEMPORARY MUSIC FOR THE YOUNG This year Seminar concerts will be presented in two forms: live-streamed and virtual.