Virtual Edition in Honor of the 74Th Festival
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Ojai Accolades
ARTISTIC LEGACY AND INNOVATION Known as a creative musical laboratory that pushes the boundaries of concert experience the Festival has welcomed such visionaries as Aaron Copland, Igor Stravinsky, Pierre Boulez, Olivier Messiaen, Michael Tilson Thomas, John Adams, Dawn Upshaw, Esa-Pekka Salonen, Steve Reich, Jeremy Denk, Peter Sellars, and countless others. This legacy is built on creative, collaborative partnerships. Artistic Director Thomas W. Morris selects a different artist to serve as the Music Director every year. From its beginnings in 1947, the Ojai Music Festival has remained unmatched in the international musical landscape. A summer home to generations of leading composers, conductors and musicians, the Festival is a convergence of exceptional artists, stimulating and diverse repertoire, one of the most remarkable audiences for music anywhere, and the idyllic setting of Ojai in a unique four-day immersive experience. “THE OJAI MUSIC FESTIVAL PLACES MUSIC OF OUR TIME AT THE CENTER OF WHAT IT DOES, BUT UNLIKE A CONTEMPORARY MUSIC FESTIVAL THAT CONCENTRATES ON JUST WHAT’S NEW, OJAI BUILDS A CASE FOR HOW THE MUSIC OF TODAY FITS INTO THE CONTEXT OF THE LONGER, HISTORICAL CONVERSATION – IT EXPLORES WHY MUSIC MATTERS TODAY.” THOMAS W. MORRIS, ARTISTIC DIRECTOR “THERE IS NOTHING QUITE LIKE OJAI, WHERE THIS LEVEL OF CREATIVITY IS INSERTED IN THE BEAUTY OF THE OJAI VALLEY, WHERE THE MOUNTAINS AND THE MUSIC ARE IN HARMONY. THE MOST TALENTED ARTISTS COME TOGETHER HERE TO EXPRESS THEIR POTENTIAL AND GIVE US THAT GIFT. I HAVE TRAVELED AND VISITED MANY FESTIVALS ON OTHER CONTINENTS… NONE COMPARE TO THE EXPERIENCE OF THE OJAI MUSIC FESTIVAL.” DAVID NYGREN, BOARD CHAIR Ojai Festivals, Ltd | P.O. -
THE CLEVELAN ORCHESTRA California Masterwor S
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Calder Quartet, Terry Riley to Play Blum & Poe Gallery
Calder Quartet, Terry Riley to play Blum & Poe gallery - latime... http://www.latimes.com/entertainment/news/music/la-et-calder-r... latimes.com/entertainment/news/music/la-et-calder-riley-20110914,0,4944057.story latimes.com Calder Quartet, Terry Riley to play Blum & Poe gallery The young players (and their mentor) perform to raise money so they can commission new works. By Margaret Wappler, Los Angeles Times September 14, 2011 Los Angeles is teeming with places to perform if advertisement you're a rock band stoking dreams of becoming the next Arcade Fire, but what about a classically trained string quartet, one that can play with party guru Andrew WK or the National's stormy rock? The art world, ready to foster the kind of cross-pollination that sparked between Merce Cunningham and John Cage, is ready to receive you with open arms. It's a good thing, too, in a city where genre-jumping musicians have few mid-level-sized homes. Either play in the splendor of Walt Disney Concert Hall or the tiny confines of the Smell or Pehrspace. Or, in the case of local heroes Calder Quartet, talk to Tim Blum, co-owner of Culver City's prestigious Blum & Poe gallery. On Wednesday, the Calder Quartet will perform, followed by a piano set from their mentor Terry Riley, at an event designed to raise money for the group to commission new pieces. Hosted in Blum & Poe's new space partially conceived for interdisciplinary works, it's the kind of show that feels auspicious for its connective tissue between the art world and classical music that expands tradition to incorporate forays into rock, jazz, Indian raga or whatever catches the roaming ear. -
Young Composers-Now!
MAtA FESTIVAL 2010 APRIL 19-22 YOUNG COMPOSERS-NOW! (Le) Poisson Rouge new YoRk CitY PhiLiP Glass Executive Producer MissY MAzzoLi Executive Director ChRistoPheR McIntyre Artistic Director NathAn koCi Development and Operations Manager BOARD OF DIRECTORS JiM RosenFieLd President theodoRe wiprud Vice-President Russell PoMeranz Treasurer JoAn LA Barbara Secretary Ellen BRodY hughes Past President PhiLiP Glass Executive Producer LisA BielawA Artistic Director Emeritus EleonoR SandReskY Artistic Director Emeritus LAuRie AndeRson Grethe Barrett holby zonA hostetLeR Ralph Jackson Aaron Jay keRnis JAson MAsiMoRe JAMes MAtheson John L. stewart FOUNDERS (1996) LisA BielawA PhiLiP Glass EleonoR SandReskY FESTIVAL 2010 TEAM Dan Bora Technical Director sid king Stage Manager steVen swartz, dotdotdotMusiC Public Relations CAseY MAheR | THIS will kill thAt Graphic Design stePhen TayloR Photography/Video PeteR wise, square CAndY design Website Development MESSAGE FROM THE DIRECTORS Welcome to MATA’s 12th annual Festival of New Music by young composers. As MATA nears completion of its 13th year of concerts, commissions, installations, panels and collaborations, we continue to be motivated by the same things that inspired Philip Glass, Eleonor Sandresky and Lisa Bielawa at the first MATA concerts in 1997. Each year, the body of work that we and our panel of established peers encounter in the Call For Submissions (including well over 400 composers at this point!) is full of surprising and innovative music by artists who are sure to be leaders in the field in the decades to come. We draw inspiration from their ingenuity and energy during the selection process and throughout the year. 2010 brings many firsts to the MATA Festival, including the American debut of Italian new music ensemble L’arsenale, a group making waves all over Italy, and the Festival debut of the Calder Quartet, Ensemble Pamplemousse, and New York’s venerable new music ensemble, Argento. -
Hitler's American Model
Hitler’s American Model The United States and the Making of Nazi Race Law James Q. Whitman Princeton University Press Princeton and Oxford 1 Introduction This jurisprudence would suit us perfectly, with a single exception. Over there they have in mind, practically speaking, only coloreds and half-coloreds, which includes mestizos and mulattoes; but the Jews, who are also of interest to us, are not reckoned among the coloreds. —Roland Freisler, June 5, 1934 On June 5, 1934, about a year and a half after Adolf Hitler became Chancellor of the Reich, the leading lawyers of Nazi Germany gathered at a meeting to plan what would become the Nuremberg Laws, the notorious anti-Jewish legislation of the Nazi race regime. The meeting was chaired by Franz Gürtner, the Reich Minister of Justice, and attended by officials who in the coming years would play central roles in the persecution of Germany’s Jews. Among those present was Bernhard Lösener, one of the principal draftsmen of the Nuremberg Laws; and the terrifying Roland Freisler, later President of the Nazi People’s Court and a man whose name has endured as a byword for twentieth-century judicial savagery. The meeting was an important one, and a stenographer was present to record a verbatim transcript, to be preserved by the ever-diligent Nazi bureaucracy as a record of a crucial moment in the creation of the new race regime. That transcript reveals the startling fact that is my point of departure in this study: the meeting involved detailed and lengthy discussions of the law of the United States. -
Download Booklet
THE TWENTY-FIFTH HOUR COMPOSER’S NOTE the same musical stuff, as if each were a THE CHAMBER MUSIC OF THOMAS ADÈS (b. 1971) different view through a kaleidoscope. ‘Six of Nearly twenty years separate the two string the seven titles’, he has noted, ‘evoke quartets on this record, and all I have been able various vanished or vanishing “idylls”. The Piano Quintet (2001) * to discover over this time is that music only gets odd-numbered are all aquatic, and would splice 1 I [11.43] more and more mysterious. I am very grateful if played consecutively.’ 2 II [4.35] for this enjoyable collaboration to Signum, Tim 3 III [3.00] Oldham, Steve Long at Floating Earth, and my In the first movement the viola is a gondolier friends the Calder Quartet. poling through the other instruments’ moonlit The Four Quarters (2011) World Premiere Recording 4 I. Nightfalls [7.06] water, with shreds of shadowy waltz drifting 5 II. Serenade: Morning Dew [3.12] Thomas Adès, 2015 in now and then. Next, under a quotation 6 III. Days [3.50] from The Magic Flute (‘That sounds so 7 IV. The Twenty-Fifth Hour [3.51] The Chamber Music delightful, that sounds so divine’ sing of Thomas Adès Monostatos and the slaves when Papageno Arcadiana (1993) plays his bells), comes a song for the cello 8 I. Venezia notturno [2.39] These three works are not only in classic under glistening harmonics. The music is 9 II. Das klinget so herrlich, das klinget so schon [1.22] genres but themselves becoming classics, with stopped twice in its tracks by major chords, 0 III. -
Bolderboulder 10K Results
BolderBOULDER 1986 - BolderBOULDER 10K - results OnlineRaceResults.com NAME DIV TIME ---------------------- ------- ----------- Jon Luff M18 31:14 Jeff Sanchez M20 31:23 Jonathan Hume M18 31:58 Ed Ostrovich M27 32:04 Mark Stromberg M21 32:09 Michael Velasquez M16 32:21 Rick Renfrom M32 32:22 James Ysebaert M22 32:24 Louis Anderson M32 32:25 Joel Thompson M27 32:27 Kevin Collins M31 32:34 Rob Welo M22 32:42 Bill Lawrance M31 32:44 Richard Bishop M28 32:45 Chester Carl M33 32:47 Bob Fink M29 32:51 David Couture M18 32:54 Brent Terry M24 32:58 Chris Nelson M16 33:02 Robert III Hillgrove M18 33:05 Steve Smith M16 33:08 Rick Katz M37 33:11 Tom Donohoue M30 33:14 Dale Garland M28 33:17 Michael Tobin M22 33:18 Craig Marshall M28 33:20 Mark Weeks M34 33:21 Sam Wolfe M27 33:23 William Levine M25 33:26 Robert Jr Dominguez M30 33:26 David Teague M32 33:28 Alex Accetta M16 33:29 Dave Dreikosen M32 33:31 Peter Boes M22 33:32 Daniel Bieser M24 33:32 Matt Strand M18 33:33 George Frushour M23 33:34 Everett Bear M16 33:35 Bruce Pulford M31 33:36 Jeff Stein M26 33:40 Thomas Teschner M22 33:42 Mike Chase M28 33:43 Michael Junig M21 33:43 Parrick Carrigan M26 33:44 Jay Kirksey M30 33:46 Todd Moore M22 33:49 Jerry Duckworth M24 33:49 Rick Reimer M37 33:50 RaY Keogh M28 33:50 Dave Dooley M39 33:50 Roger Innes M26 33:50 David Chipman M22 33:51 Brian Boehm M17 33:51 Michael Dunlap M29 33:51 Arthur Mizzi M30 33:52 Jim Tanner M18 33:52 Bob Hillgrove M41 33:52 Ramon Duran M18 33:52 Ken Jr. -
At NALC's Doorstep
Volume 134/Number 2 February 2021 In this issue President’s Message 1 Branch Election Notices 81 Special issue LETTER CARRIER POLITICAL FUND The monthly journal of the NATIONAL ASSOCIATION OF LETTER CARRIERS ANARCHY at NALC’s doorstep— PAGE 1 { InstallInstall thethe freefree NALCNALC MemberMember AppApp forfor youryour iPhoneiPhone oror AndroidAndroid smartphonesmartphone As technology increases our ability to communicate, NALC must stay ahead of the curve. We’ve now taken the next step with the NALC Member App for iPhone and Android smartphones. The app was de- veloped with the needs of letter carriers in mind. The app’s features include: • Workplace resources, including the National • Instantaneous NALC news with Agreement, JCAM, MRS and CCA resources personalized push notifications • Interactive Non-Scheduled Days calendar and social media access • Legislative tools, including bill tracker, • Much more individualized congressional representatives and PAC information GoGo to to the the App App Store Store oror GoogleGoogle Play Play and and search search forfor “NALC “NALC Member Member App”App” toto install install for for free free President’s Message Anarchy on NALC’s doorstep have always taken great These developments have left our nation shaken. Our polit- pride in the NALC’s head- ical divisions are raw, and there now is great uncertainty about quarters, the Vincent R. the future. This will certainly complicate our efforts to advance Sombrotto Building. It sits our legislative agenda in the now-restored U.S. Capitol. But kitty-corner to the United there is reason for hope. IStates Capitol, a magnificent First, we should take solace in the fact that the attack on our and inspiring structure that has democracy utterly failed. -
Ojai North Music Festival
CAL PERFORMANCES PRESENTS Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival Jeremy Denk Music Director, 2014 Ojai Music Festival Thomas W. Morris Artistic Director, Ojai Music Festival Matías Tarnopolsky Executive and Artistic Director, Cal Performances Robert Spano, conductor Storm Large, vocalist Timo Andres, piano Aubrey Allicock, bass-baritone Kim Josephson, baritone Dominic Armstrong, tenor Ashraf Sewailam, bass-baritone Rachel Calloway, mezzo-soprano Peabody Southwell, mezzo-soprano Keith Jameson, tenor Jennifer Zetlan, soprano The Knights Eric Jacobsen, conductor Brooklyn Rider Uri Caine Ensemble Hudson Shad Ojai Festival Singers Kevin Fox, conductor Ojai North is a co-production of the Ojai Music Festival and Cal Performances. Ojai North is made possible, in part, by Patron Sponsors Liz and Greg Lutz. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 13 FESTIVAL SCHEDULE Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival FESTIVAL SCHEDULE Thursday, June <D, =;<?, Cpm Welcome : Cal Performances Executive and Artistic Director Matías Tarnopolsky Concert: Bay Area première of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Brooklyn Rider Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Eric Jacobsen, cello The Knights Aubrey Allicock, bass-baritone Dominic Armstrong, tenor Rachel Calloway, mezzo-soprano Keith Jameson, tenor Kim Josephson, baritone Ashraf Sewailam, bass-baritone Peabody Southwell, mezzo-soprano Jennifer Zetlan, soprano Mary Birnbaum, director Robert Spano, conductor Friday, June =;, =;<?, A:>;pm Talk: The creative team of The Classical Style: An Opera (of Sorts) —Jeremy Denk, Steven Stucky, and Mary Birnbaum—in a conversation moderated by Matías Tarnopolsky PLAYBILL FESTIVAL SCHEDULE Cpm Concert: Second Bay Area performance of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Same performers as on Thursday evening. -
A Christian Physicist Examines Noah's Flood and Plate Tectonics
A Christian Physicist Examines Noah’s Flood and Plate Tectonics by Steven Ball, Ph.D. September 2003 Dedication I dedicate this work to my friend and colleague Rodric White-Stevens, who delighted in discussing with me the geologic wonders of the Earth and their relevance to Biblical faith. Cover picture courtesy of the U.S. Geological Survey, copyright free 1 Introduction It seems that no subject stirs the passions of those intending to defend biblical truth more than Noah’s Flood. It is perhaps the one biblical account that appears to conflict with modern science more than any other. Many aspiring Christian apologists have chosen to use this account as a litmus test of whether one accepts the Bible or modern science as true. Before we examine this together, let me clarify that I accept the account of Noah’s Flood as completely true, just as I do the entirety of the Bible. The Bible demonstrates itself to be reliable and remarkably consistent, having numerous interesting participants in various stories through which is interwoven a continuous theme of God’s plan for man’s redemption. Noah’s Flood is one of those stories, revealing to us both God’s judgment of sin and God’s over-riding grace and mercy. It remains a timeless account, for it has much to teach us about a God who never changes. It is one of the most popular Bible stories for children, and the truth be known, for us adults as well. It is rather unfortunate that many dismiss the account as mythical, simply because it seems to be at odds with a scientific view of the earth. -
Premiere / First Ever Performances in Germany LOST HIGHWAY Music
Premiere / First ever performances in Germany LOST HIGHWAY Music Theatre by Olga Neuwirth (*1968) Libretto by Elfriede Jelinek and Olga Neuwirth based on the script for the film by the same name (1997) by David Lynch and Barry Gifford Performed in English with German surtitles Conductor: Karsten Januschke Director: Yuval Sharon Set, Video and Lighting Designer: Jason H. Thompson, Kaitlyn Pietras Live Electronics: Markus Noisternig, Gilbert Nouno Sound Organiser: Norbert Ommer Costume Designer: Doey Lüthi Dramaturge: Stephanie Schulze Pete: John Brancy Fred: Jeff Burrell Renee / Alice: Elizabeth Reiter Mr. Eddy / Dick Laurent: David Moss Mystery Man: Rupert Enticknap Andy / Guard / Arnie: Samuel Levine Pete's Mother: Juanita Lascarro Pete's Father: Jörg Schäfer Ed / Detective Hank: Nicholas Bruder Al / Detective Lou / Prison Director: Jim Phetterplace jr. Doctor / The Man: Jeff Hallman Ensemble Modern With generous support from the Aventis Foundation, Kulturfond Frankfurt RheinMain and Frankfurt Patronatsverein – Sektion Oper David Lynch's film Lost Highway (1997) is a fascinating combination of psycho-thriller, horror and film noir. The Austrian composer Olga Neuwirth (*1968) and Literary Nobel Prize winner Elfriede Jelinek based their libretto on David Lynch and Barry Gifford's script. The World Premiere took place at the Steirische Herbst in Graz in 2003. Neuwirth developed a very ambitious way of telling the story about the „study of a person, who cannot come to terms with his fate“ (Gifford), combined with feverish changes in scene. Her score is extremely complex, combining intermedial threads with grand scale live electronics and video, which makes the fictionalised reality become almost virtual. „Dick Laurent is dead.“ The Jazz musician Fred hears this sentence over his intercom, and a door opens to a parallel universe. -
Machine Musicianship This Page Intentionally Left Blank Machine Musicianship Robert Rowe
Machine Musicianship This Page Intentionally Left Blank Machine Musicianship Robert Rowe The MIT Press Cambridge, Massachusetts London, England 2001 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and re- trieval) without permission in writing from the publisher. This book was set in Melior by Achorn Graphic Services, Inc., and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Rowe, Robert. Machine musicianship / Robert Rowe. p. cm. Includes bibliographical references and index. Contents: Machine musicianshipÐSymbolic processesÐSub-symbolic processesÐ Segments and patternsÐCompositional techniquesÐAlgorithmic expression and music cognitionÐInteractive improvisationÐInteractive multimediaÐInstallationsÐDirec- tions. ISBN 0-262-18206-8 (hc. : alk. paper) 1. Arti®cial intelligenceÐMusical applications. 2. MusicÐComputer programs. 3. Real-time programming. 4. Computer composition. I. Title. ML74.R68 2001 780′.285Ðdc21 00-038699 Contents Acknowledgments ix 1 Machine Musicianship 1 1.1 The Motivation for Machine Musicianship 3 1.2 Algorithmic Composition 6 1.3 Algorithmic Analysis 8 1.4 Structure of the Text 12 1.5 Machine Musicianship Library 14 2 Symbolic Processes 17 2.1 Chord Theory 18 2.1.1 Triad Classi®er 19 2.1.2 Representations 28 2.1.3 MIDI Chord Recognizer 33 2.1.4 Chord Spelling 42 2.2 Context Sensitivity 46 2.2.1 Virtual