DOCSLIB.ORG

Simon-Rattle-Orchestre-De-Birmingham

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Simon-Rattle-Orchestre-De-Birmingham André Larquié président Brigitte Marger directeur général sommaire Sir Simon Rattle, direction Birmingham Contemporary Music Group vendredi 26 novembre à 20h page 4 Anu Komsi, soprano Sakari Oramo, violon samedi 27 novembre à 16h30 page 18 Sir Simon Rattle, direction City of Birmingham Symphony Orchestra samedi 27 novembre à 20h page 29 Sakari Oramo, direction City of Birmingham Symphony Orchestra dimanche 28 novembre à 15h page 33 biographies page 38 L’Orchestre de Birmingham (City of Birmingham Symphony Orchestra, CBSO) doit sa brillante réputation au dynamisme que Sir Simon Rattle a su lui insuffler depuis 1980, et au projet culturel que Sakari Oramo perpétue dans cette ville de l’Angleterre industrielle. En effet, depuis 1980, Sir Simon Rattle a mis en place une ambitieuse politique musicale qui a bénéficié de l’engouement immédiat du public. Cette réussite s’est encore accrue avec la construction d’une nouvelle salle de concert appré- ciée pour son excellente acoustique. Durant la saison 1997-98, les 90 musiciens de l’Orchestre se sont produits à l’occasion de 140 concerts dans 39 villes, 10 pays et 4 continents devant plus de 300.000 personnes… Mais les efforts de cet orchestre ne s’arrêtent pas là. Les projets éducatifs ont pris une ampleur exceptionnelle et concernent aujourd’hui plus de 17.000 jeunes appartenant à la région ouest des Midlands. L’Orchestre s’est enfin impliqué dans la fondation de différents ensembles : le Birmingham Contemporary Music Group, quatre chœurs qui réunissent 365 personnes de tous âges (City of Birmingham Symphony Chorus, City of Birmingham Symphony Youth Chorus, City of Birmingham Young Voices…), un ballet, une compagnie de théâtre… Une réussite qui, depuis, a fait des émules dans toute l’Europe et que son nou- veau chef, le Finlandais Sakari Oramo, compte encore développer. avec le soutien du British Council vendredi Igor Stravinsky 26 novembre - 20h « Dumbarton Oaks » Concerto, salle des concerts en mi bémol majeur durée : 15 minutes Thomas Adès Concerto Conciso, op 18 Study for a coda Ciaconnetta Brawl durée : 8 minutes György Kurtág ...quasi una fantasia..., op 27 n° 1 durée : 9 minutes entracte Kenneth Hesketh The Circling Canopy of Night (création française) Primum Mobile The Regions of the Air Mercurius durée : 20 minutes Igor Stravinsky Renard, « histoire burlesque chantée et jouée, faite pour la scène » (d’après des contes populaires russes) Marche du soldat Petit concert Trois danses (tango, valse, ragtime) Danse du diable Grand choral Marche triomphale du diable durée : 20 minutes Sir Simon Rattle, direction Rolf Hind, piano Nigel Robson, Neil Jenkins, ténors Stephen Roberts, David Thomas, basses Oliver Hindle, chorégraphe Birmingham Royal Ballet : Toby Norman-Wright, Renard Christopher Larsen, le Coq Ander Zabala, le Chat James Grundy, la Chèvre Isabel McMeekan, Rachel Ester, Mikaëla Polley, Carol-Anne Millar, les Poules Birmingham Contemporary Music Group carte blanche à l’Orchestre de Birmingham Igor Stravinsky composition : 1937-38 ; commande des époux Bliss pour « Dumbarton Oaks » leurs trente ans de mariage ; création : le 8 mai 1938 à Concerto, Dumbarton Oaks (dir. Nadia Boulanger) ; effectif : 1 flûte, 1 clarinette, 1 basson, 2 cors, 3 violons, 3 altos, 2 violoncelles, en mi bémol majeur 2 contrebasses. Peut-être sommes-nous plus à l’aise, depuis quelques temps, avec la notion de plaisir. Bannies les mortifi- cations qu’exigeait, disait-on, un art musical pros- pectif, il semble redevenu légitime, désormais, de s’abandonner parfois à quelques musiques piquantes. Les œuvres du présent concert iront du sourire entendu à l’énormité homérique. On savait de longue date que Stravinsky ne s’était pas gêné, tout au long de sa carrière, pour distribuer les pieds de nez. A la sévère Amérique, notamment, qui l’accueille en 1939, peu après que, de la côte Pacifique, lui a été commandé un divertissement savant, pour quinze exécutants. Sans doute espé- rait-on quelque joli objet sonore, pittoresque et riche- ment coloré. Fausse route : c’est un « septième Brandebourgeois » qu’expédie le musicien ; et, au départ, la leçon se voulait austère : un an de travail. Heureusement le moujik revendique toujours quelques droits chez Stravinsky et un succulent basson, d’alertes figures de flûte, de rieuses fanfares de cors – quelques touches de clarinette, aussi, dans les deux parties – si hétérogènes – de l’allegretto central –vien- nent parer d’arcs-en-ciel le sévère piétinement de l’ensemble de cordes. Con moto, le finale dissipe avec une énergique résolution la mélancolie vers laquelle glissait soudain le mouvement lent… Le Concerto en mi bémol fut créé le 8 mai 1938 (sous la direction de Nadia Boulanger) dans la riche propriété de Dumbarton Oaks, dans l’état de Washington… La première œuvre de Stravinsky « américain » sera un Tango. 6| cité de la musique carte blanche à l’Orchestre de Birmingham Thomas Adès composition : 1997 ; commande du Birmingham Concerto Conciso, op 18 Contemporary Music Group, du London Sinfonietta et de l’Ensemble Modern (avec le soutien du Arts Council of England et du BCMG’s Sound Investment Scheme : K. Asthana, L. Bacon, P. Fell, A. & D. Fisk, O. Golijov, J. & S. Goodband, N. Goulty, J. & C. Harding, J. Hawkins, D. Jones, M. Squires, G. Stanley, C. Walsh, A. Thompson, B. veer, A. Woodfield, P. Wright ; création le 28 octobre 1997 au Adrian Boult Hall de Birmingham par le BCMG (dir. Thomas Adès). Un disque récent (Living Toys, 1998) a récemment attiré l’attention sur le talent de Thomas Adès, com- positeur britannique né en 1971, élève d’A. Goehr. Sir Simon Rattle se fit tout de suite le champion de sa musique d’orchestre. L’œuvre requiert un piano et dix exécutants (clarinette, saxophone, trompette, trom- bone, tuba, percussions et cordes). Study for a coda offre une introduction d’un jazz bourgeonnant ; Ciaconetta, plus ample, élabore six reprises d’un motif en accords ; très bref, le Brawl final (anglicisation de notre bransle renaissant) oriente une piquante espiè- glerie vers une réapparition du motif initial. György Kurtág composition : 1988 ; création : 16 octobre 1988 à Berlin ...quasi una fantasia... par Zoltan Kocsis et l’Ensemble Modern (dir. Peter Eötvös) ; effectif : piano solo, 1 flûte, 1 hautbois, 1 clarinette, 1 clari- nette basse, 1 basson, 1 cor, 1 trompette, 1 trombone, 1 tuba, percussion, 1 piano, 1 harpe, cymbalum, 5 harmoni- cas, cordes ; édition : Editio Musica Budapest. Sérialiste au style très personnel, il tire volontiers son inspiration de tout un réseau d’allusions littéraires reflétant la riche culture d’Europe centrale. Des hom- mages plus ou moins directs au grand répertoire nour- rissent d’autres aspects de son œuvre, telles les dix minutes de ce …quasi una fantasia…, pour piano et petit ensemble, spirituelle élaboration à partir des sou- venirs que laisse la (13e) Sonate op 27 n° 1 de Beethoven (1800) – dont le musicien hongrois fait mine de rejoindre le numéro de catalogue. Marcel Marnat notes de programme | 7 carte blanche à l’Orchestre de Birmingham Kenneth Hesketh composition : 1998 ; commande associée des éditions The Circling Canopy of Night Faber Music et des Birmingham Contemporary Music Group for the Faber Music Millenium series (avec le soutien de Sound Investors et du programme BCMG’s Sound Investment : Stephen Johnson & Deborah Richardson, Colin Matthews, Adam Watson & Jeremy Lindon, Philippa Wright ; création : le 21 novembre 1999 au CBSO Centre de Birmingham par le CBSO. Le Dôme circulaire de la nuit est une œuvre dont les mouvements enchaînés durent, au total, environ vingt minutes. L’idée en a été suggérée par la vision ptolé- méenne que les temps médiévaux eurent de l’uni- vers, avant Copernic […] Le monde s’étageait alors verticalement, avec la terre au sol et l’Empyrée – demeure de Dieu – au sommet. Tandis que notre uni- vers est infini, froid, obscur et en expansion, le leur était stable, ordonné, logique et baigné de lumière. [Ma] musique se répartit en trois sections : Primum Mobile, The Regions of the Air et Mercurius. La pre- mière influe sur le matériel thématique des deux autres, le mouvement acquis dans Primum Mobile se com- muniquant aux diverses zones de The Regions of the Air : Stellatum (étoiles fixes) I, II et III, séparées les unes des autres par Infortuna major (Saturne) et Fortuna minor (Venus) […] L’œuvre évoquera l’évo- lution des sphères jusqu’à Mercurius qui finira par repartir en arrière pour s’achever sur un Ascendit in caelum. Etant donné que, selon la doctrine médié- vale, ce « ciel » est empli de lumière et résonne du chant des corps célestes, j’ai eu le souci de conformer le déroulement général de l’œuvre aux sections prin- cipales de l’Eucharistie. Nous avons ainsi : Primum Mobile = Introït ; Stellatum I, II et III = Kyrie, Christe, Kyrie ; Infortuna major, Fortuna minor, Mercurius = Gloria ; Acendit in Caelum = Graduel et Alleluya. Kenneth Hesketh 8| cité de la musique carte blanche à l’Orchestre de Birmingham Igor Stravinsky composition : 1916 ; commande de la princesse Edouard de Renard Polignac ; création de la version française : 18 mai 1922 ; livret d’Igor Stravinsky d’après C. F. Ramuz ; résultat d’une collaboration entre le BCMG et le BRB, cette nouvelle pro- duction (chantée en russe), a été créée le 20 novembre 1994 au Adrian Boult Hall de Birmingham par le CBSO (dir. Sir Simon Rattle) ; effectif : 2 ténors, 2 basses, 1 flûte, 1 hautbois, 1 clarinette, 1 basson, 2 cors, 1 trompette, per- cussion, cordes ; éditions : Chester. Loin de ces spéculations sidérales, c’est un Stravinsky résolument terrestre que nous retrouvons avec Renard. Le Russe avait toujours eu des relations imprévues avec le chant. Lorsque la première guerre mondiale le confina en Suisse, c’est un bouquet de pièces d’esprit populaire qui s’empare de son esprit, le tout couronné par une évocation burlesque du Renard médiéval.
Load more

Recommended publications
  • Journal81-1.Pdf
    January 1984, Number 81 The Delius Society Journal The Delius Society Journal-_._- January 1984, Number 818l The Delius Society Full Membership £8.00f,8.00 per year Students £5.0095.00 Subscription to Libraries (Journal only) £6.00f,6.00 per year USA and Canada US $17.00 per year President Eric Fenby OBE, Hon DMus,D Mus, Hon DLitt,D Litt, Hon RAM Vice Presidents The Rt Hon Lord Boothby KBE, LLD Felix Aprahamian Hon RCO Roland Gibson M Sc, Ph D (Founder Member) Sir Charles Groves CBE Stanford Robinson OBE, ARCM (Hon), Hon CSM Meredith Davies CBE, MA, BMus,B Mus, FRCM, Hon RAM Norman Del Mar CBE, Hon DMusD Mus YemonVernon Handley MA, FRCM·,FRCM, D Univ (Surrey) Chairman RBR B Meadows 5 Westbourne House, Mount Park Road, Harrow, Middlesex Treasurer Peter Lyons 160 Wishing Tree Road, St. Leonards-on-Sea, East Sussex Secretary Miss Diane Eastwood 28 Emscote Street South, Bell Hall, Halifax, Yorkshire Tel: (0422) 5053750537 Editor Stephen Lloyd 41 Marlborough Road, Luton, Bedfordshire LU3 lEFIEF Tel: Luton (0582)(0582\ 2007520075 2 Contents Editorial . .33 lamesJamesFarrar: Poet, Airman and Delian by Christopher PalmerPalmer. .4 LeslieLeslieHewardbyLyndonJenkinsHeward by Lyndon lenkins .....1313 Fennimore and Gerda at the Edinburgh Festival by Gordon LovgreenIovgreen. .1616 Correspondence .....212] ForthcomingForthcomingEventsEvents ...2121 Acknowledgements The cover illustration is an early sketch of Delius by Edvard Munch reproduced by kind permission of the Curator of the Munch Museum, Oslo. The two photographic plates in this issue have been financed by a legacy to the Delius Society from the late Robert Aickman. ISSN 0306 0373 3 Editorial Perhaps the most keenly anticipated event to have occurred within the past three months has been the publication of Lionel Carley's Delius: A Life in Letters 1862-19081862-1908 (Scolar Press, £25).
    [Show full text]
  • NUI MAYNOOTH Ûllscôst La Ttéiîéann Mâ Üuad Charles Villiers Stanford’S Preludes for Piano Op.163 and Op.179: a Musicological Retrospective
    NUI MAYNOOTH Ûllscôst la ttÉiîéann Mâ Üuad Charles Villiers Stanford’s Preludes for Piano op.163 and op.179: A Musicological Retrospective (3 Volumes) Volume 1 Adèle Commins Thesis Submitted to the National University of Ireland, Maynooth for the degree of Doctor of Philosophy Department of Music National University of Ireland, Maynooth Maynooth Co. Kildare 2012 Head of Department: Professor Fiona M. Palmer Supervisors: Dr Lorraine Byrne Bodley & Dr Patrick F. Devine Acknowledgements I would like to express my appreciation to a number of people who have helped me throughout my doctoral studies. Firstly, I would like to express my gratitude and appreciation to my supervisors and mentors, Dr Lorraine Byrne Bodley and Dr Patrick Devine, for their guidance, insight, advice, criticism and commitment over the course of my doctoral studies. They enabled me to develop my ideas and bring the project to completion. I am grateful to Professor Fiona Palmer and to Professor Gerard Gillen who encouraged and supported my studies during both my undergraduate and postgraduate studies in the Music Department at NUI Maynooth. It was Professor Gillen who introduced me to Stanford and his music, and for this, I am very grateful. I am grateful to the staff in many libraries and archives for assisting me with my many queries and furnishing me with research materials. In particular, the Stanford Collection at the Robinson Library, Newcastle University has been an invaluable resource during this research project and I would like to thank Melanie Wood, Elaine Archbold and Alan Callender and all the staff at the Robinson Library, for all of their help and for granting me access to the vast Stanford collection.
    [Show full text]
  • Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’
    ‘The Art-Twins of Our Timestretch’: Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’ Catherine Sarah Kirby Submitted in total fulfilment of the requirements of the degree of Master of Music (Musicology) April 2015 Melbourne Conservatorium of Music The University of Melbourne Produced on archival quality paper Abstract This thesis explores Percy Grainger’s promotion of the music of Frederick Delius in the United States of America between his arrival in New York in 1914 and Delius’s death in 1934. Grainger’s ‘Delius campaign’—the title he gave to his work on behalf of Delius— involved lectures, articles, interviews and performances as both a pianist and conductor. Through this, Grainger was responsible for a number of noteworthy American Delius premieres. He also helped to disseminate Delius’s music by his work as a teacher, and through contact with publishers, conductors and the press. In this thesis I will examine this campaign and the critical reception of its resulting performances, and question the extent to which Grainger’s tireless promotion affected the reception of Delius’s music in the USA. To give context to this campaign, Chapter One outlines the relationship, both personal and compositional, between Delius and Grainger. This is done through analysis of their correspondence, as well as much of Grainger’s broader and autobiographical writings. This chapter also considers the relationship between Grainger, Delius and others musicians within their circle, and explores the extent of their influence upon each other. Chapter Two examines in detail the many elements that made up the ‘Delius campaign’.
    [Show full text]
  • British and Commonwealth Concertos from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec.
    [Show full text]
  • Morning Heroes Blissmorning Heroes
    SUPER AUDIO CD MORNING HEROES BLISS Hymn to Apollo (original version) Samuel West orator BBC Symphony Chorus BBC Symphony Orchestra SIR ANDREW DaVIS Arthur Bliss,1923 Arthur Photograph by Herbert Lambert (1881 – 1936) / Mary Evans Picture Library Sir Arthur Bliss (1891 – 1975) Morning Heroes, F 32 (1930)* 55:33 A Symphony for Orator, Chorus, and Orchestra To the memory of my brother FRANCIS KENNARD BLISS and all other comrades killed in battle 1 I Hector’s Farewell to Andromache. Maestoso – L’istesso tempo – L’istesso tempo – 13:00 2 II The City Arming. Allegro alla marcia (with great spirit and elation) – Poco meno – Più mosso – Meno mosso (Moderato) – Alla marcia – Più mosso – Pochissimo meno – Andante moderato 11:14 3 III Vigil. Andante sostenuto – L’istesso tempo (Tranquillo) – Agitato – Tempo I – 7:53 4 The Bivouac’s Flame. Adagio maestoso – Più mosso – A tempo maestoso – Tempo I – Largamente 4:26 5 IV Achilles Goes Forth to Battle. Allegro con fuoco – Tranquillo – 6:45 6 The Heroes. Allegro con fuoco – Molto animato 1:38 V Now, Trumpeter, for thy Close 7 Spring Offensive. Andante maestoso – Più animato – Andante molto tranquillo – 5:32 8 Dawn on the Somme. Grave (quasi chorale) – Andante tranquillo – Pochissimo più mosso – Più mosso – Maestoso – Molto tranquillo 5:02 3 premiere recording 9 Hymn to Apollo, F 116 (1926) 9:26 for Orchestra Original version Moderato maestoso – Più mosso (assai allegro) – A tempo I (moderato) – Più mosso – Tranquillo, ma non meno mosso – A tempo I meno mosso TT 65:12 Samuel West orator* BBC Symphony Chorus* Stephen Jackson chorus master BBC Symphony Orchestra Laura Samuel leader Sir Andrew Davis 4 Sir Andrew Davis Andrew Sir © Dario Acosta Photography Bliss: Morning Heroes / Hymn to Apollo Morning Heroes by machine gun fire near barrier..
    [Show full text]
  • PDF (V.50:15, February 3, 1949)
    SUPPORT TRAVEL TO THE WHITTIER Y DRIVE CIILlfORNl1I TECH TOMORROW CflliffJfnifl Institutl of TecllnoloKY Volume L. ____________________________~ _________ Thursday, February 3, 1949____________________________________________ No. 15 ASCIT Nomination Assembly Job Seeki~q To, YFinance Drive Set for Tech, Set For Week From Friday Positions Open for Nine on Board of Directors, B,~~~~:~~~:~ent, the Alumni-Beaver lectures Goal of $2,250 Establl·shed Publication Editors and Business Monagers turn to the jobhunting side of >$> On Friday. February 11, one week from tomorrow, the an· the placement picture. Next nual ASCIT nominations assembly will be held in Culbertson Hall M Ak d f St· f At this time nominations to the ASCIT offices for the third term ~~nn"~~:'ni~~~ S~~~~;r:~n~: Throopers to Vote oney s e or uppor 0 this year and the first two of the next will be publicly announced The procedure will be the same as that given by the corporation for Success," followed by "The 0 Off T d E d d P am of ServI'ce By·Laws in the Little T. Candidates for the offices of ASCIT ~~~b!~i:; t~~Os~il~!S f~~II\;Ot~~ n lcers 0 a~ xpan e roqr President, Vice-President, Secretary, Treasurer, Athletic Manager, subJ·ect of "Summer Jobs." Throop men will decide today N ew Y A ctov,toes... lidnc u e G ra d uate L unc h eon CI u,b Seminars, Publicity Manager, a first Repre->$> The man talking non-techni- on the men to lead the club next cally will be an industrial engi- year.
    [Show full text]
  • JOHN IRELAND 70Th Birthday Concert
    JOHN IRELAND 70th Birthday ConCert Sir ADRIAN BOULT conductor EILEEN JOYCE piano LONDON PHILHARMONIC ORCHESTRA JOHN IRELAND 70th Birthday ConCert The Henry Wood Promenade Concerts were BBC Symphony Orchestra’s Chief Conductor, inaugurated in 1895 in London’s principal the move from one rostrum to another was concert venue, Queen’s Hall. Following the effected with great smoothness: “I was only hall’s destruction during World War II, the out of work for two or three days,” he liked to BBC Promenade concerts have continued say. For Ireland’s birthday concert he was the ever since at the Royal Albert Hall. The annual ideal choice. Boult’s wide embrace of English summer season is in effect a huge music music had long included Ireland’s music: he festival, drawing the greatest artists and had premièred These things shall be in his BBC orchestras from all over the world. In the days, and in 1936 encouraged the composer to years after the 1939–45 war it became quite turn his Comedy Overture, originally composed usual to celebrate composers’ anniversaries, for brass band, into A London Overture, so sometimes devoting a concert entirely to giving it a wider and more popular following. their music. The concert recorded on this CD, Ireland had a great love of London, revealed in given on 10 September 1949 to mark John such cameos as his picturesque London Pieces Ireland’s 70th birthday, was conducted by Sir for piano with their nostalgic titles ‘Chelsea Adrian Boult (1889–1983). Boult described Reach’ and ‘Soho Forenoons’. A London Overture the composer
    [Show full text]
  • Disc A: Miniaturised Concertos (Total Duration 58:48)
    disc A: Miniaturised Concertos (total duration 58:48) 1 Swimming with the Stone Book (Andrew Poppy) 15:43 Kate Halsall, Fumiko Miyachii: pianos F Andrew Poppy: keyboard Joel Bell: electric guitar F Ruth Goller: electric bass F Lucy Shaw: upright bass Robert Millett & Jeremy Barnett: percussion 2 Always again (Naomi Pinnock) 13:48 Kate Halsall, Fumiko Miyachi: pianos F Delia Stevens: percussion 3 Furor (Philip Cashian) 9:14 Kate Halsall, Fumiko Miyachi: pianos Ensemble Dark Inventions, conductor Chris Leedham 4 Hanging in the Balance (Colin Riley) 19:54 I Ritual Groove II Break, Tackle and Bowl III Scent of an Ending Kate Halsall, Fumiko Miyachi: pianos James Waterworth: electronics, sound design video track not on album: Katharine Norman: Making Place 16:15 Kate Halsall (pianos) Buy the download (£2.00 or $3.50) at http://www.divineartrecords.com/CD/makingplace.htm Stream video on YouTube at https://youtu.be/RZLwjCh6j5E in case of difficulty accessing video contact [email protected] disc B: Maché (total duration 39:39) 1 Maché 1 16:20 Duncan MacLeod: Cut, Strike, Grip, Throw * Kate Halsall, Fumiko Miyachi: keyboards F Duncan MacLeod: electronics Simon Vincent: Study No. 3 * Kate Halsall, Martin Butler:pianos F Simon Vincent: electronic soundtrack Joel Bell: bell-like * Kate Halsall, Martin Butler: pianos F Joel Bell: e.guitar Ryoko Akama: an.dt.wo * Kate Halsall, Fumiko Miyachi: pianos 2 Maché 2 5:38 Dominic Murcott: Time and Place* Kate Halsall: pianos F Sounds of Chatham Historic Dockyard recorded by Chris Lewis 3 Maché 3 12:45
    [Show full text]
  • Composer Brochure
    CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time.
    [Show full text]
  • 0012762KAI.Pdf
    REBECCA SAUNDERS (*1967) 1 choler (2004) 16:52 für zwei Klaviere 2 crimson (2004–05) 17:35 für Klavier 3 miniata (2004) 32:16 für Akkordeon, Klavier, Chor und Orchester TT: 66:49 1 2 3 Nicolas Hodges Klavier 1 Rolf Hind Klavier 3 Teodoro Anzellotti Akkordeon 3 licenced by col legno SWR Vokalensemble Stuttgart SWR Sinfonieorchester Baden-Baden und Freiburg Hans Zender Coverphoto: © Peter Oswald 2 Zwischen Klang und Dunkelheit, zwischen Stille und Licht Drei Werke für und mit Klavier von Rebecca Saunders Björn Gottstein Wer, wie Rebecca Saunders, mit Eltern aufwächst, für crimson, das in Anlehnung an das mittlerwei- die sich beide als Pianisten verdingen, in einem le zurückgezogene Solo (2002) und an das Piano Haus, das voller Klaviere steht, der verbringt als solo aus der Tanztheatermusik Insideout (2003) Kind ganze Nachmittage unter dem Flügel, um entstanden ist und das ihre pianistischen Arbeiten den Klang der vibrierenden Saiten über sich hin- auf ihren – so Saunders wörtlich: „Kern“ reduziert: weg strömen zu lassen. „Das Klavier war allge- „Es geht um eine ganz schmale Palette von Klang- genwärtig und allmächtig“, beschreibt Saunders farben, Klängen und Ausdrucksmöglichkeiten, die ihr gespaltenes Verhältnis zu einem Instrument, dann in diesem Stück miteinander verschmolzen das in ihrer Kindheit beides gewesen ist: Zuflucht werden.“ und Pantheon. Zu dieser Palette gehören zahlreiche Clusterva- Das Klavier ist für Saunders noch heute ein wich- rianten, stumm gedrückte Tasten mit frei reso- tiges, ja vielleicht das wichtigste Instrument. Mehr nierenden Saiten, extreme Lagen, dynamische noch als von ihr zur Signatur erkorene Instrumente Kontraste, vor allem aber der virtuose Umgang wie der Kontrabass, die E-Gitarre oder die Spiel- mit dem Sustain-, dem Sostenuto- und dem Una uhr, ist das Klavier so sehr in ihrem musikalischen corda-Pedal.
    [Show full text]
  • MUSIC for MY LOVE, VOLUME THREE by Martin Anderson
    MUSIC FOR MY LOVE, VOLUME THREE by Martin Anderson Yodit Tekle was born in Asmara, the capital of Eritrea, on 29 December 1977, and came to the United Kingdom as a refugee from the harsh internal policies of her native country. We were introduced by a mutual friend at a concert on 13 April 2008, and she stopped the breath in my throat – I hope you know the feeling when you first see someone and know that’s where you have to be – and, but for a hiatus of a few months, we spent the rest of her short life together. In the autumn of 2014 Yodit was diagnosed with stomach cancer. That kind of news throws everything into perspective and so the first thing I said to her when I went to see her in hospital was: ‘I hadn’t realised I loved you so much’. Quick as a flash, she answered: ‘So where’s the ring?’ I countered: ‘But what happens if we get married and you survive?’ We both laughed loudly – because neither of us thought for a minute that she really might die. Even so, on the bus home that evening I didn’t require much reflection to understand what needed to be done, and as soon as I got in, I went online and bought a ring. We duly got engaged on Christmas Day, when Yodit was so full of life and happiness that even now, years later, it doesn’t seem possible that she had less than five months to live.1 This project of 100+ new pieces for string orchestra had its origins in a Skype conversation with the composer Steve Elcock just after that first shocking diagnosis.
    [Show full text]
  • DVD Extra 10. Thomas Adès and Tal Rosner in Conve
    CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. IN SEVEN DAYS NANCARROW STUDIES for piano and orchestra with moving image (2008) Nos. 6 & 7 Thomas Adès music Conlon Nancarrow, arr. Thomas Adès Tal Rosner visuals Tal Rosner and Sophie Clements visuals 1. Chaos – Light – Dark [8.25] 8. Study No. 6 [3.39] 2. Separation of the waters into sea 9. Study No. 7 [10.00] and sky [4.14] THOMAS ADÈS & ROLF HIND pianos 3. Land – Grass – Trees [5.35] Recorded in Kings Place Hall 2 on 12 June 2011 Arrangement commissioned by Fondazione Katia 4. Stars – Sun – Moon [3.16] & Marielle Labèque www.fondazionekml.org Published by Schott Music GmbH & Co. KG, Mainz Fugue 5. Creatures of the Sea TOTAL TIMINGS: [42.36] and Sky – [3.05] 6. Creatures of the Land [2.29] DVD Extra 7. Contemplation [1.53] 10. Thomas Adès and Tal Rosner in conversation NICOLAS HODGES piano Recorded at the Southbank Centre, London on 3 August 2011 THOMAS ADÈS conductor Filmed and Produced by Kieran Morris of De Novo Arts LONDON SINFONIETTA Facilitated by Marshall Marcus Recorded live in concert at Birmingham Symphony Hall on 11 March 2011 Commissioned by the Southbank Centre, London and the Los Angeles Philharmonic Association Published by Faber Music Ltd Generously supported by Simon Yates and Kevin Roon In Seven Days performed as part of a London Sinfonietta UK tour supported by Sound and Music Engineered and Produced by Ian Dearden of Sound Intermedia Project Management by Claire Stevens Design - Darren Rumney P2011 Signum C2011 Signum www.signumrecords.com 20 1 291.0mm x 169.5mm CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No.
    [Show full text]