The Social and Cultural Implications of Hungarian Modern Classical
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Stockhausen's Cosmic Pulses
Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 1 Stockhausen’s Cosmic Pulses ROBIN MACONIE Some people chase tornados; others go after black holes. From the late 1950s Stockhausen was fascinated by the idea of sounds in rotation and how to realise them in a technical sense, by means of an array of loudspeakers. Completed in 2007, Cosmic Pulses is Stockhausen’s final electronic composition.1 For a number of reasons I believe the composer knew it would be his last. The work was completed in a rush. In many ways, notably in terms of the sound material, which is very basic, it remains a sketch. The music can be described as a massive rotating sound mass, composed in 24 separately spinning frequency layers. The work thickens gradually to 24 layers, then reduces symmetrically upward in an ascending spiral that ends quite abruptly. An audience may experience the sensation of falling headlong into a black hole, or, if one is an optimist, of being carried aloft on the whirlwind like Dorothy in The Wizard of Oz. A tornado is an effect of a natural imbalance between temperature layers in the atmosphere, tipped into motion by the earth’s rotation, which moves progressively faster toward the equator. The rotating air mass that results spirals upwards and generates a powerful electrical charge. A black hole by comparison is an effect of gravitation creating an imbalance in spacetime. The rotational process that results spirals downward or inward and leads to the extinction of reality as we know it, or again, if one is an optimist, creates a wormhole leading either into another universe, or into our own universe at Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 2 another point in time. -
Gloomy Sunday
GLOOMY SUNDAY Written by Kevin Machate WGA Registry #2115398 (c)Kevin Machate 2021 [email protected] FADE IN: INT. SMALL APARTMENT LIVING ROOM - NIGHT SUPER: PARIS FRANCE, DECEMBER 1932 REZSŐ SERESS, 33, sits at an upright piano. He is clean shaven with dark, slicked back hair. A cigarette burns in an ashtray on the piano bench. His white dress shirt is half unbuttoned and the sleeves are partially rolled up. There is a photo of Rezső and Erzsébet, his estranged lover, facing him on the front of the piano. He plays a few chords of a haunting tune and uses a pencil to make record of the musical notes on the paper in front of him. On the wall behind him is a mirror. In the mirror’s image, an entity, much like a lingering shadow, fades in an out of focus. It seems to take the shape of a human outline, while at the same time is indistinguishable. Rezső stops writing and glances behind him. He sees nothing out of the ordinary. His coat is on the rack next to the mirror and his tie lies on the floor. He pauses, takes a puff of the cigarette, and exhales. He gently touches the image of woman’s face before going back to his work. SUPER: AUSTIN TEXAS, 2021 INT - LIVING ROOM - AFTERNOON JONAH HORVATH, 32, average height, thin, with short wiry brown hair, sits on a chair and looks through a box of songbooks and sheet music at an estate sale. There is a small group of people wandering around looking at various items in boxes and on shelves. -
Ambiant Creativity Mo Fr Workshop Concerts Lectures Discussions
workshop concerts lectures discussions ambiant creativity »digital composition« March 14-18 2011 mo fr jérôme bertholon sebastian berweck ludger brümmer claude cadoz omer chatziserif johannes kreidler damian marhulets thomas a. troge iannis zannos // program thursday, march 17th digital creativity 6 pm, Lecture // Caught in the Middle: The Interpreter in the Digital Age and Sebastian Berweck contemporary ZKM_Vortragssaal music 6.45 pm, IMA | lab // National Styles in Electro- acoustic Music? thomas a. troged- Stipends of “Ambiant Creativity” and Sebastian fdfd Berweck ZKM_Vortragssaal 8 pm, Concert // Interactive Creativity with Sebastian Berweck (Pianist, Performer), works by Ludger Brümmer, Johannes Kreidler, Enno Poppe, Terry Riley, Giacinto Scelsi ZKM_Kubus friday, march 18th 6 pm, Lecture // New Technologies and Musical Creations Johannes Kreidler ZKM_Vortragsaal 6.45 pm, Round Table // What to Expect? Hopes and Problems of Technological Driven Art Ludger Brümmer, Claude Cadoz, Johannes Kreidler, Thomas A. Troge, Iannis Zannos ZKM_Vortragssaal 8 pm, Concert // Spatial Creativity, works by Jérôme Bertholon, Ludger Brümmer, Claude Cadoz, Omer Chatziserif, Damian Marhulets, Iannis Zannos ZKM_Kubus 10pm, Night Concert // Audiovisual Creativity with audiovisual compositions and dj- sets by dj deepthought and Damian Marhulets ZKM_Musikbalkon // the project “ambiant creativity” The “Ambiant Creativity” project aims to promote the potential of interdisciplinary coopera- tion in the arts with modern technology, and its relevance at the European Level. The results and events are opened to the general public. The project is a European Project funded with support from the European Commission under the Culture Program. It started on October, 2009 for a duration of two years. The partnership groups ACROE in France, ZKM | Karlsruhe in Germany and the Ionian University in Greece. -
John Cage's Entanglement with the Ideas Of
JOHN CAGE’S ENTANGLEMENT WITH THE IDEAS OF COOMARASWAMY Edward James Crooks PhD University of York Music July 2011 John Cage’s Entanglement with the Ideas of Coomaraswamy by Edward Crooks Abstract The American composer John Cage was famous for the expansiveness of his thought. In particular, his borrowings from ‘Oriental philosophy’ have directed the critical and popular reception of his works. But what is the reality of such claims? In the twenty years since his death, Cage scholars have started to discover the significant gap between Cage’s presentation of theories he claimed he borrowed from India, China, and Japan, and the presentation of the same theories in the sources he referenced. The present study delves into the circumstances and contexts of Cage’s Asian influences, specifically as related to Cage’s borrowings from the British-Ceylonese art historian and metaphysician Ananda K. Coomaraswamy. In addition, Cage’s friendship with the Jungian mythologist Joseph Campbell is detailed, as are Cage’s borrowings from the theories of Jung. Particular attention is paid to the conservative ideology integral to the theories of all three thinkers. After a new analysis of the life and work of Coomaraswamy, the investigation focuses on the metaphysics of Coomaraswamy’s philosophy of art. The phrase ‘art is the imitation of nature in her manner of operation’ opens the doors to a wide- ranging exploration of the mimesis of intelligible and sensible forms. Comparing Coomaraswamy’s ‘Traditional’ idealism to Cage’s radical epistemological realism demonstrates the extent of the lack of congruity between the two thinkers. In a second chapter on Coomaraswamy, the extent of the differences between Cage and Coomaraswamy are revealed through investigating their differing approaches to rasa , the Renaissance, tradition, ‘art and life’, and museums. -
JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev. -
Release 28. Oktober
Release 28. oktober Stunt Records STUCD 11182 STULP 11181 (Gatefold LP+CD) Billie Holiday’s wonderful voice and unforgettable presence on recordings I have written a few songs that we feel comliment Billie’s material. I think and film have made a deep impression on many of us. She was the greatest, of these songs as a loving tribute to the great Lady Day.” and she still is the greatest. Few artists have left an equivalent mark on the world of jazz, and there is hardly a female vocalist in jazz, soul or rock, Tenor saxophonist Jakob Dinesen wrote the arrangements to most of the who can truthfully decline being influenced by her mastery of interpre- tunes, which have already been performed several times in front of an tation. It seems a banal truth to state that Billie “sang her life” – that her audience, most recently at a sold-out concert in the Tivoli Gardens during troubled existence is reflected in her singing. However, that’s the way it is. this year’s Copenhagen Jazz Festival. HEAD, P.J.Harvey’s regular collaborator, was called in from Britain to Vocalist Kira Skov also fell under Billie’s spell: record the session at STC Studio in Copenhagen. HEAD was also involved “I’ve been listening to Billie Holiday since my early teens. When I was in Kira’s previous release. The other musicians are Mads Hyhne (trombo- around thirteen, I found a record in my local shopping center with that ne), Heine Hansen (piano), Nicolai Munch-Hansen (bass) and R.J. -
Passacaglia and Lament in Ligeti's Recent Music
tijdschrift 2004 #9/1/2 22-01-2004 09:16 Pagina 1 stephen taylor Passacaglia and lament in Ligeti’s recent music1 György Ligeti’s music since his opera Le Grand Macabre (1974-77, revised 1996) could be described as a collage of different compositional techniques. Two of the most prominent are passacaglia, and a melodic figure Ligeti calls the ‘lament motive’, based on the descending chromatic scale. Passacaglia and chromatic scales have appeared in Ligeti’s music since his student days, but they have become especially prominent in his recent music. This essay examines the development of these two techniques, focusing on their combination in the Horn Trio and Violin Concerto. These works not only show us how Ligeti uses the same ideas in different contexts; they also provide an overview of his recent compositional technique. Of the various compositional devices that appear in Ligeti’s music since his opera Le Grand Macabre (1974-77), two of the most prominent are the passacaglia and a melodic figure Ligeti calls the ‘lament motive’, based on the descending chromatic scale. Table 1 shows a list of works from the opera to the late 1990s in which these techniques appear. This essay examines the two slow movements that combine them: the fourth movement of the Horn Trio, ‘Lamento’, from 1982, and the fourth move- ment of the Violin Concerto, ‘Passacaglia: Lento intenso’, written a decade later. While both movements have much in common, their differences also highlight how Ligeti’s music has developed since he embarked on his new style in the early 1980s. -
Characteristics of Choral Writing in György Ligeti's Late Works*
UDC 784.1 Вестник СПбГУ. Искусствоведение. 2018. Т. 8. Вып. 4 Characteristics of Choral Writing in György Ligeti’s Late Works* A. S. Ryzhinskii Gnesins’ Russian Academy of Music, 30–36, Povarskaya str., Moscow, 121069, Russian Federation For citation: Ryzhinskii, Aleksandr. “Characteristics of Choral Writing in György Ligeti’s Late Works”. Vestnik of Saint Petersburg University. Arts 8, no. 4 (2018): 578–92. https://doi.org/10.21638/ spbu15.2018.403 Article is devoted to the last vocal works a cappella created Gyorgÿ Ligeti in 1980 — the 1990th years: “Drei Phantasien nach Fridrich Hölderlin”, “Magyar Etüdök” and “Nonsense Madrigals”. The author traces relationship between the previous and last choral opuses by the master, between Ligeti’s choral works and choral creativity of his predecessors and contemporaries. So the author reveals features of ligeti’s late choral style: at the levels of relationship between word and music, the texture and timbre organization. The author pays special attention to studying of Ligeti’s neomadrigalism. This phenomenon proves in the organization of musical texture, in interaction of musical and literary texts and also in the general organization of compositions. The opposition of love and death (immemorial categories of human life) is the cornerstone of the dramaturgic organization of a cycle and typical for Ligeti’s vocal works “polyphony of meanings” is shown in the constant present genre and style game with the recipient. The composition intended for “The King’s singers” embodies diverse style hints, corresponding to the wide performing range of this ensemble and own musical interests of the composer. In this last vocal work by Ligeti also his love to literary world of Lewis Carroll with the atmosphere of absurdity, so conformable to the music world of the author of “Le Grand Macabre” was reflected. -
Three World Premieres FRIDAY JANUARY 17, 2014 8:00 Triple Threat Three World Premieres
Triple Threat Three World Premieres FRIDAY JANUARY 17, 2014 8:00 Triple Threat Three World Premieres FRIDAY JANUARY 17, 2014 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Pre-concert talk with the composers – 7:00 ELENA RUEHR Summer Days (2013) KEN UENO Hapax Legomenon, a concerto for two-bow cello and orchestra (2013) Frances-Marie Uitti, cello INTERMISSION DAVID RAKOWSKI Piano Concerto No. 2 (2011) Amy Briggs, piano GIL ROSE, Conductor Summer Days and Piano Concerto No. 2 were made possible by a grant from the Jebediah Foundation New Music Commissions. Hapax Legomenon was commissioned by the Harvard Musical Association and composed at Civitella Rainieri. PROGRAM NOTES 5 By Robert Kirzinger A true representative microcosm of the stylistic range of BMOP’s repertory history would be absurd, albeit maybe entertaining: forty-seven two-minute pieces for thirty-one different ensemble types? Something of that ilk might come close. The present program, though, TINA TALLON is at least an indicator of the range of the orchestra’s repertoire: all three composers of tonight’s world premieres have collaborated with BMOP before, but their individual compositional voices are highly distinctive. All three works were commissioned for and TONIGHT’S PERFORMERS written for the Boston Modern Orchestra Project. There are some broad connections, though: David Rakowski’s and Ken Ueno’s pieces are both concertos, and both Ueno’s FLUTE TROMBONE VIOLA and Elena Ruehr’s pieces were partly inspired by visual art. Sarah Brady Hans Bohn Noriko Herndon Rachel Braude Martin Wittenberg Emily Rideout Dimitar Petkov ELENA RUEHR (b. 1963) OBOE PERCUSSION Lilit Muradyan Summer Days (2013) Jennifer Slowik Nick Tolle Willine Thoe Laura Pardee Aaron Trant Kim Lehmann Mike Williams Elena Ruehr was BMOP’s first composer in residence from 2000 until 2005. -
Songs by Title
Songs by Title Title Artist Versions Title Artist Versions #1 Crush Garbage SC 1999 Prince PI SC #Selfie Chainsmokers SS 2 Become 1 Spice Girls DK MM SC (Can't Stop) Giving You Up Kylie Minogue SF 2 Hearts Kylie Minogue MR (Don't Take Her) She's All I Tracy Byrd MM 2 Minutes To Midnight Iron Maiden SF Got 2 Stars Camp Rock DI (I Don't Know Why) But I Clarence Frogman Henry MM 2 Step DJ Unk PH Do 2000 Miles Pretenders, The ZO (I'll Never Be) Maria Sandra SF 21 Guns Green Day QH SF Magdalena 21 Questions (Feat. Nate 50 Cent SC (Take Me Home) Country Toots & The Maytals SC Dogg) Roads 21st Century Breakdown Green Day MR SF (This Ain't) No Thinkin' Trace Adkins MM Thing 21st Century Christmas Cliff Richard MR + 1 Martin Solveig SF 21st Century Girl Willow Smith SF '03 Bonnie & Clyde (Feat. Jay-Z SC 22 Lily Allen SF Beyonce) Taylor Swift MR SF ZP 1, 2 Step Ciara BH SC SF SI 23 (Feat. Miley Cyrus, Wiz Mike Will Made-It PH SP Khalifa And Juicy J) 10 Days Late Third Eye Blind SC 24 Hours At A Time Marshall Tucker Band SG 10 Million People Example SF 24 Hours From Tulsa Gene Pitney MM 10 Minutes Until The Utilities UT 24-7 Kevon Edmonds SC Karaoke Starts (5 Min 24K Magic Bruno Mars MR SF Track) 24's Richgirl & Bun B PH 10 Seconds Jazmine Sullivan PH 25 Miles Edwin Starr SC 10,000 Promises Backstreet Boys BS 25 Minutes To Go Johnny Cash SF 100 Percent Cowboy Jason Meadows PH 25 Or 6 To 4 Chicago BS PI SC 100 Years Five For Fighting SC 26 Cents Wilkinsons, The MM SC SF 100% Chance Of Rain Gary Morris SC 26 Miles Four Preps, The SA 100% Pure Love Crystal Waters PI SC 29 Nights Danni Leigh SC 10000 Nights Alphabeat MR SF 29 Palms Robert Plant SC SF 10th Avenue Freeze Out Bruce Springsteen SG 3 Britney Spears CB MR PH 1-2-3 Gloria Estefan BS SC QH SF Len Barry DK 3 AM Matchbox 20 MM SC 1-2-3 Redlight 1910 Fruitgum Co. -
Boston Symphony Orchestra Concert Programs, Season 121, 2001-2002
Bring your Steinway: With floor plans from 2,300 Phase One of this magnificent to over 5,000 square feet, property is 100% sold and you can bring your Concert occupied. Phase Two is now Grand to Longyear. being offered by Sotheby's Enjoy full-service, single- International Realty and floor condominium living at its Hammond Residential Real absolute finest, all harmoniously Estate. Priced from $1,500,000. located on an extraordinary eight-acre Call Hammond Real Estate at gated community atop prestigious (617) 731-4644, ext. 410. Fisher Hill. LONGYEAK at ^Jrisner Jiill BROOKLINE SOTHEBY'S IIIIIHillll» prophritesinc. International Realty REAL ESTAT Somethingfor any occasion.. r v.- rmffl&^*-%%& mi ^H :*-rff^„iS^ cw :' ;:-: <*HH"WCSkV ^H .1 *nt* M I l^B I 5*£$3&i BSS*8? ;' ?"^0-4> ..Vi f? i r^A*i J>- ! ; ^m^i $ DAVIE^yCOMPANY Sellers & Collectors of Beautiful Jewelry 232 Boylston Street, Chestnut Hill, MA 02467 617-969-6262 (Tel) 1-800-DAVIDCO 617-969-3434 (Fax) www.davidandcompany.com - . Every car has its moment. This one has thousands per second. f -»< H !,*•.'•". The new 3 Series. Pure drive, The New BMW 3 Series From $27,745* Test drive The Ultimate Driving Machine® bmwusa.com The Ultimate 1-800-334-4BI Driving Machine* at your authorized BMW center Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twenty-first Season, 2001-02 SALUTING SEUI OZAWA IN HIS FAREWELL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Deborah Davis Berman, Vice-Chairman Vincent M. -
Alan Gilbert Conducts World Premiere of William Bolcom's
New York Philharmonic Contact: Katherine E. Johnson (212) 875 -5718; [email protected] May 23–June 11, 2016 JUNE 10, 2016, AT DAVID GEFFEN HALL: ALAN GILBERT To Conduct the NEW YORK PHILHARMONIC World Premiere of William BOLCOM’s Trombone Concerto with Principal Trombone JOSEPH ALESSI New York Premiere of John CORIGLIANO’s Conjurer, with Percussionist MARTIN GRUBINGER As part of the NY PHIL BIENNIAL, Alan Gilbert will lead the New York Philharmonic at David Geffen Hall in works by two American composers of the same generation: the World Premiere–Philharmonic Co-Commission of a Trombone Concerto by William Bolcom (United States, b. 1938), with Philharmonic Principal Trombone Joseph Alessi as soloist, and the New York Premiere of Conjurer by John Corigliano (United States, b. 1938), with percussionist Martin Grubinger as soloist in his Philharmonic debut. William Bolcom said of the commission for his Trombone Concerto: “Joseph Alessi’s recordings have shown a consummate musician with perfect intonation, wide stylistic sense, lyrical phrasing, and dazzling technique. I hope and intend that Joe’s warmth and geniality will find their way into this concerto, along with his interpretative breadth.” The work is a Philharmonic co-commission with the Shanghai Symphony Orchestra, made possible with generous support from Edward Stanford and Barbara Scheulen. The Philharmonic has performed six works by William Bolcom since 1973, including the World Premiere of his Clarinet Concerto, commissioned by the Philharmonic (1992, with former Principal Clarinet Stanley Drucker and led by Leonard Slatkin) as part of its 150th anniversary celebration. Joseph Alessi premiered 2012–15 Marie-Josée Kravis Composer-in-Residence Christopher Rouse’s Pulitzer Prize–winning Trombone Concerto, also commissioned for the Orchestra’s 150th anniversary project (1992, led by Leonard Slatkin), and Melinda Wagner’s Trombone Concerto (2007, led by Lorin Maazel).