ARN CV New 140421
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Wuorinen Printable Program
The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide. -
Guest Artist:Marilyn Nonken, Piano "Signature Pieces"
Illinois State University ISU ReD: Research and eData School of Music Programs Music 10-16-2002 Guest Artist:Marilyn Nonken, Piano "Signature Pieces" Marilyn Nonken Piano Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Nonken, Marilyn Piano, "Guest Artist:Marilyn Nonken, Piano "Signature Pieces"" (2002). School of Music Programs. 2355. https://ir.library.illinoisstate.edu/somp/2355 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. I I llinois S-\;crte Univel'si-\;4 -School of Music I I I G ued:: Artist I Mcrr>ilyn Nonken, piano I " I "S. ig natu,-,e Pieces I I I I I Cent..,. fa,, the P.,,fcrrmm~ / ',r•' I 'W ed neda~ {;;;vonir.9 Octob..,.· 16, '200'2 8 :00 p.m. I The t;ighteenth P"°91""'m of the '200'2-'2003 S9Gl<on . P-roqram I I David Rakowski studied at New England Conservatory, Princeton, and Tanglewood with Milton Babbitt, Sliding Scales David Rakowskil I Luciano Berio, Peter Westergaard, Paul Lansky, and Robert Ceely. He has received plenty of awards and 12-Step Program (2002) commissions, is published by C.F. Peters, and was twice a finalist for the Pulitzer Prize in Music: in 1999 for Persistent Memory, commissioned and premiered by the Orpheus Chamber Orchestra; and in 2002 for Ten of a Kind, commissioned and premiered by "The President's Own" U.S. -
T H E P Ro G
Sunday, December 3, 2017, at 11:00 am m a Sunday Morning Coffee Concerts r g o r Conrad Tao, Piano P BACH Chromatic fantasia and fugue in D minor (c. 1720) e h JASON ECKARDT Echoes’ White Veil (1996) T RACHMANINOFF Étude-tableau in A minor (191 6–17) BEETHOVEN Sonata No. 31 in A-flat major (1821 –22) Moderato cantabile, molto espressivo Allegro molto Adagio, ma non troppo—Fuga: Allegro, ma non troppo This program is approximately one hour long and will be performed without intermission. Please join the artist for a cup of coffee following the performance. Please make certain all your electronic devices are switched off. Refreshments provided by Zabar’s and zabars.com This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Walter Reade Theater Great Performers Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. American Airlines is the Official Airline of Lincoln Center Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center UPCOMING GREAT PERFORMERS EVENTS: Wednesday, December 6 at 7:30 pm in Alice Tully Hall Bach Collegium Japan Masaaki Suzuki, conductor Sherezade Panthaki, soprano Jay Carter, countertenor Zachary Wilder, tenor Dominik Wörner, bass BACH: Four Cantatas from Weihnachts-Oratorium (“Christmas Oratorio”) Pre-concert lecture by Michael Marissen at 6:15 pm in the Stanley H. -
Prism Quartet Dedication
PRISM QUARTET DEDICATION WITH GUEST ARTIST GREG OSBY PRISM Quartet Dedication 1 Roshanne Etezady Inkling 1:09 2 Zack Browning Howler Back 1:09 3 Tim Ries Lu 2:36 4 Gregory Wanamaker speed metal organum blues 1:14 5 Renée Favand-See isolation 1:07 6 Libby Larsen Wait a Minute... 1:09 7 Nick Didkovksy Talea (hoping to somehow “know”) 1:06 8 Nick Didkovksy Stink Up! (PolyPrism 1) 1:06 9 Nick Didkovksy Stink Up! (PolyPrism 2) 1:01 10 Greg Osby Prism #1 (Refraction) 6:49 Greg Osby, alto sax solo 11 Donnacha Dennehy Mild, Medium-Lasting, Artificial Happiness 1:49 12 Ken Ueno July 23, from sunrise to sunset, the summer of the S.E.P.S.A. bus rides destra e sinistra around Ischia just to get tomorrow’s scatolame 1:20 13 Adam B. Silverman Just a Minute, Chopin 2:21 14 William Bolcom Scherzino 1:16 Matthew Levy Three Miniatures 15 Diary 2:05 16 Meditation 1:49 17 Song without Words 2:33 PRISM Quartet/Music From China 3 18 Jennifer Higdon Bop 1:09 19 Dennis DeSantis Hive Mind 1:06 20 Robert Capanna Moment of Refraction 1:04 21 Keith Moore OneTwenty 1:31 22 Jason Eckardt A Fractured Silence 1:18 Frank J. Oteri Fair and Balanced? 23 Remaining Neutral 1:00 24 Seeming Partial 3:09 25 Uncommon Ground 1:00 26 Incremental Change 1:49 27 Perry Goldstein Out of Bounds 1:24 28 Tim Berne Brokelyn 0:57 29 Chen Yi Happy Birthday to PRISM 1:24 30 James Primosch Straight Up 1:24 31 Greg Osby Prism #1 (Refraction) (alternate take) 6:49 Greg Osby, alto sax solo TOTAL PLAYING TIME 57:53 All works composed and premiered in 2004 except Three Miniatures, composed/premiered in 2006. -
Agnieszka Roginska
1 Marilyn Nonken New York University, Steinhardt School Music and Performing Arts, Piano Studies 35 West Fourth Street, New York, NY 10012 (212) 998-5612 [email protected] http://steinhardt.nyu.edu/music/faculty/Marilyn_Nonken http://marilynnonken.com HIGHLIGHTS Recordings 25+ recordings as soloist, duo pianist, chamber musician. Publications Two monographs, 20+ journal articles, book chapters, invited publications. Performances 25+ years performing at major international venues. Expertise Piano performance, musicology, theory, post-1945 music, ecological psychology, aesthetics, performance practice, identity/diversity/equity/access in the arts. Leadership Director of Piano Studies, 15+ years administration and direction of non-profit performing, commissioning and presenting arts organizations. EDUCATION 1999 PhD, Musicology/Theory. Columbia University, New York. Dissertation: An Ecological Approach to Music Perception: Stimulus-Driven Listening and the Complexity Repertoire. Advisor: Fred Lerdahl. 1995 MPhil, Musicology/Theory. Columbia University, New York. 1995 MA, Musicology/Theory. Columbia University, New York. 1992 Zertifikat, Internationalen Meisterkurs für Interpretation Neuer Klaviermusik, Musikakademie Rheinsberg, Germany. Mentor: Leonard Stein. 1992 BMus, Theory. Eastman School of Music, University of Rochester, New York. Mentor: David Burge. ACADEMIC POSITIONS 2013-2019 Associate Professor. Steinhardt School, New York University, New York. 2006–2013 Assistant Professor. Steinhardt School, New York University, New York. 2005–2006 Adjunct Professor. Department of Music, Columbia University, New York. 1994–1996 Instructor. Department of Music, Columbia University, New York. MONOGRAPHS Nonken, Marilyn. Identity and Diversity in New Music: The New Complexities. Routledge, 2019. Nonken, Marilyn. The Spectral Piano: From Liszt, Scriabin, and Debussy to the Digital Age. Cambridge University Press, 2014. Paperback edition, 2016. 2 BOOK CHAPTERS AND EDITED VOLUMES Nonken, Marilyn. -
American Mavericks Festival
VISIONARIES PIONEERS ICONOCLASTS A LOOK AT 20TH-CENTURY MUSIC IN THE UNITED STATES, FROM THE SAN FRANCISCO SYMPHONY EDITED BY SUSAN KEY AND LARRY ROTHE PUBLISHED IN COOPERATION WITH THE UNIVERSITY OF CaLIFORNIA PRESS The San Francisco Symphony TO PHYLLIS WAttIs— San Francisco, California FRIEND OF THE SAN FRANCISCO SYMPHONY, CHAMPION OF NEW AND UNUSUAL MUSIC, All inquiries about the sales and distribution of this volume should be directed to the University of California Press. BENEFACTOR OF THE AMERICAN MAVERICKS FESTIVAL, FREE SPIRIT, CATALYST, AND MUSE. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England ©2001 by The San Francisco Symphony ISBN 0-520-23304-2 (cloth) Cataloging-in-Publication Data is on file with the Library of Congress. The paper used in this publication meets the minimum requirements of ANSI / NISO Z390.48-1992 (R 1997) (Permanence of Paper). Printed in Canada Designed by i4 Design, Sausalito, California Back cover: Detail from score of Earle Brown’s Cross Sections and Color Fields. 10 09 08 07 06 05 04 03 02 01 10 9 8 7 6 5 4 3 2 1 v Contents vii From the Editors When Michael Tilson Thomas announced that he intended to devote three weeks in June 2000 to a survey of some of the 20th century’s most radical American composers, those of us associated with the San Francisco Symphony held our breaths. The Symphony has never apologized for its commitment to new music, but American orchestras have to deal with economic realities. For the San Francisco Symphony, as for its siblings across the country, the guiding principle of programming has always been balance. -
April 06 WEB Prog.Qxd
\ The San Francisco Contemporary Music Players cordially invites you to attend a 35th Anniversary Benefit Concert and Gala Reception Sunday May 21, 2006, 4 – 7 pm San Francisco’s Treasure Island Lou Harrison, Simfony #13 for percussion Edmund Campion, Outside Music Igor Stravinsky, The Soldier’s Tale featuring Roy Malan, violin Julie Steinberg, keyboard David Milnes, Music Director And honoring Roy Malan for thirty years of service to the ensemble Jean-Louis and Jane LeRoux, Honorary Co-chairs Tickets $150 ($75 for ages 35 and under) (all but $40 of ticket price is tax-deductible) 415-278-9566, [email protected] \ SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS Performers David Milnes, Music Director Tod Brody, flute William Wohlmacher, clarinet (Logan, Ueno) Monday, 24 April 2006 8 pm Carey Bell, clarinet (Eckardt, Dennehy) Yerba Buena Center for the Arts - Forum Samuel Williams, electric guitar Roy Malan, violin (Logan, Dennehy) Graeme Jennings, violin (Eckardt) BLOOD AND GLAMOUR: Robin Hong, viola Stephen Harrison, cello NEW MUSIC FROM THE CITY Thalia Moore, cello Richard Worn, contrabass (Ueno) Michel Taddei, contrabass (Dennehy) DONNACHA DENNEHY Julie Steinberg, piano (Logan, Eckardt) Glamour Sleeper (2002-03) Teresa McCollough, piano (Ueno) United States Premiere Christopher Froh, percussion (Dennehy) Daniel Kennedy, percussion (Ueno) William Winant, percussion (Logan) WENDELL LOGAN Transition (2005) World Premiere, Commission KEN UENO We thank the Fromm Music Foundation for its assitance in commissiong Wendell Logan’s Transition and for helping to underwrite tonight’s premiere performance. blood blossoms . (2002) This concert presentation of works by Jason Eckardt, Wendell Logan and Ken Ueno is made possible in part by the generous support of the National Endowment for the Arts, ~ INTERMISSION ~ the Aaron Copland Fund for Music, and the Alice M. -
Traficante Final Dissertation
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By DEBRA LEE TRAFICANTE Norman, Oklahoma 2010 AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ________________________________ Dr. William K. Wakefield, Chair ________________________________ Dr. Roland Barrett ________________________________ Dr. Paula Conlon ________________________________ Dr. Michael Raiber ________________________________ Dr. Teresa DeBacker © Copyright by DEBRA LEE TRAFICANTE 2010 All Rights Reserved. ACKNOWLEDGEMENTS My document committee consists of Dr. William K. Wakefield, Dr. Roland Barrett, Dr. Michael Raiber, Dr. Paula Conlon, and Dr. Teresa DeBacker, and I thank each of them for their careful reading and great assistance in the execution of this document. I feel very fortunate to have had the members who served on this committee, and hold them each in high regard. Special thanks are especially due to Dr. Wakefield, chair of my committee; he tirelessly helped me clarify ideas, find new ways to experience the piece, and express my thoughts more cogently. Without his unremitting support, this document would not exist. To my parents, Ron and Mary Ann Manna, I owe any success I have ever achieved to you both. The never-ending support you have afforded me is why I have accomplished what I have. I love you both and thank you. To my in-laws, Harry and Cheryl Craig, I sincerely appreciate the endless love and support you have given to me for the last fifteen years. -
Critical Performances Jonathan A. Neufeld
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by PhilPapers Critical Performances Jonathan A. Neufeld (Penultimate version of an article published in teorema, Vol. XXXI/3, 2012, ISSN: 0210-1602, [BIBLID 0210-1602 (2012) 31:3]) Abstract Philosophers of music commonly distinguish performative from critical interpretations. I would like to suggest that the distinction between critical and performative interpretations is well captured by an analogy to legal critics and judges. This parallel draws attention to several features of performative interpretation that are typically overlooked, and deemphasizes epistemic problems with performative interpretations that I believe are typically blown out of proportion and ultimately fail to capture interesting features of performative interpretation. There is an important distinction to be made between critical and performative interpretation, but its source lies in a difference between the authority of critical and performative interpretations. Keywords: Music, Interpretation, Performance, Performative Interpretation, Critical Interpretation, Levinson, Habermas, Authority. I. Philosophers of music commonly distinguish performative from critical interpretations. I would like to suggest that the distinction between critical and performative interpretations is well captured by an analogy to legal critics and judges. This parallel draws attention to several features of performative interpretation that are typically overlooked, and deemphasizes epistemic problems with performative interpretations that I believe are typically blown out of proportion and ultimately fail to capture interesting features of performative interpretation. 1 Critical Performances 2 A central problem with the debate over performative interpretation is a focus on an overly narrow set of properties that are relevant to identifying them. -
Factbook201112.Pdf
New York Philharmonic Contents 2 2011–12 Season: The Big Picture Stats Alan Gilbert Conducts Artistic Partners Onstage Guests Principals, Center Stage 24 Learning Around the Globe For Kids and Teens Stand-Outs Lectures and Discussions Media Leonard Bernstein Scholar-in-Residence Online 20 The Players For Schools 22 Leadership 26 Premieres and Commissions Music Director 2011–12 Season Chairman Notable 21st Century President and Executive Director Notable 20th Century Notable 19th Century 28 The Legacy The Story Memorable Moments Former Music Directors and Advisors 32 Behind the Scenes Archives Volunteer Council nyphil.org The Philharmonic-Symphony Ticket Information Society of New York, Inc. Online: nyphil.org By phone: (212) 875 - 5656 Alan Gilbert, Music Director, In person: Avery Fisher Hall Box Office The partnership between the New York Philharmonic and The Yoko Nagae Ceschina Chair For group sales: (212) 875 - 5672 Credit Suisse — the Orchestra’s exclusive Global Sponsor Gary W. Parr, Chairman Accessibility Information: since 2007 — has led to inspiring performances both at Zarin Mehta, President (212) 875 - 5380 home and abroad through acclaimed tours across the and Executive Director United States, Europe, and Asia. In the 2011–12 season, Avery Fisher Hall Box Office Hours Credit Suisse’s dynamic support of the Orchestra’s Avery Fisher Hall Opens 10:00 a.m., Monday through programs helps to forge the Philharmonic’s central role in 10 Lincoln Center Plaza Saturday, noon on Sunday. the cultural life of New York, and to share Music Director New York, NY 10023 -6970 On performance evenings Alan Gilbert’s vision with the world. -
Boston Symphony Orchestra Concert Programs, Summer, 1990
FESTIVAL OF CONTE AUGUST 4th - 9th 1990 j:*sT?\€^ S& EDITION PETERS -&B) t*v^v- iT^^ RECENT ADDITIONS TO OUR CONTEMPORARY MUSIC CATALOGUE P66438a John Becker Concerto for Violin and Orchestra. $20.00 Violin and Piano (Edited by Gregory Fulkerson) P67233 Martin Boykan String Quartet no. 3 $40.00 (Score and Parts) (1988 Walter Hinrichsen Award) P66832 George Crumb Apparition $20.00 Elegiac Songs and Vocalises for Soprano and Amplified Piano P67261 Roger Reynolds Whispers Out of Time $35.00 String Orchestra (Score)* (1989 Pulitzer Prize) P67283 Bruce J. Taub Of the Wing of Madness $30.00 Chamber Orchestra (Score)* P67273 Chinary Ung Spiral $15.00 Vc, Pf and Perc (Score) (1989 Grawemeyer and Friedheim Award) P66532 Charles Wuorinen The Blue Bamboula $15.00 Piano Solo * Performance materials availablefrom our rental department C.F. PETERS CORPORATION ^373 Park Avenue So./New York, NY 10016/Phone (212) 686-4l47/Fax (212) 689-9412 1990 FESTIVAL OF CONTEMPORARY MUSIC Oliver Knussen, Festival Coordinator by the sponsored TanglewGDd TANGLEWOOD MUSIC CENTER Music Leon Fleisher, Artistic Director Center Gilbert Kalish, Chairman of the Faculty Lukas Foss, Composer-in-Residence Oliver Knussen, Coordinator of Contemporary Music Activities Bradley Lubman, Assistant to Oliver Knussen Richard Ortner, Administrator Barbara Logue, Assistant to Richard Ortner James E. Whitaker, Chief Coordinator Carol Wood worth, Secretary to the Faculty 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 Donald MacCourt Norman Fischer John Oliver Gilbert Kalish Peter Serkin Oliver Knussen Joel Smirnoff loel Krosnick Yehudi Wyner 1990 Visiting Composer/Teachers Elliott Carter John Harbison Tod Machover Donald Martino George Perle Steven Stucky The 1990 Festival of Contemporary Music is supported by a gift from Dr. -
Peter Jarvis, Director
The William Paterson University Department of Music presents New Music Series Peter Jarvis, director with WPU New Music Ensemble and the WPU Percussion Ensemble Monday, December 1, 2014, 7:00 PM Shea Center for the Performing Arts Program Workers Union (1975) Louis Andriessen For any loud sounding group of instruments Evan Chertok, Sean Dello Monaco, Giancarlo Cordasco, Anton Corozza, Kenneth Cubillas, David Endean, John Ferrari, Patrick Lapinski, Payton MacDonald, Richard Martinez, Anthony Petruccello, Dakota Singerline Peter Jarvis ‐ Conductor Vibraphone Solo VII (2014)* David Saperstein Peter Jarvis Ten Mantra Tykes (2014)* Payton MacDonald For Percussion Quartet Jeff Depetris, Sean Dello Monaco, Matt Kohere, Kristyn Scrimo Payton MacDonald ‐ Conductor Première communion de la Vierge (1944) Oliver Messiaen from Vingt regards sur l'enfant‐Jésus For Solo Piano Carl Bolleia Blunt (2011) Quinn Collins For Percussion Trio Shane Adair, Evan Chertok, Dakota Singerline John Ferrari ‐ Conductor To The Earth (1985) Frederic Rzewski For Speaking Percussionist Homeric Hymn Peter Jarvis D‐Tayls4 (2013) David Rozenblatt For Mixed Ensemble Anton Corozza, Travis Salim, Patrick Lapinski, Richard Martinez Peter Jarvis ‐ Coach * ‐ World Premiere Program Notes Workers Union: Louis Andriessen Workers Union is a "symphonic movement for any loud sounding group of instruments." Pitches are not traditionally notated, but are spaced relative to a single horizontal line, which represents the center of the instrument's register. Much in the same aesthetic as other works of his same period, the composer requests that it "sound dissonant, chromatic and often aggressive." Andriessen states that "only in the case that every player plays with such an intention that his part is an essential one, the work will succeed." Workers Union is usually played with six or more people.