2001 Next Wave Fe Tival

Total Page:16

File Type:pdf, Size:1020Kb

2001 Next Wave Fe Tival October 2001 2001 Next Wave Fe tival Brooklyn Ph iI BAM Next Wave Festival sponsor: PHILIP MORRIS ~lA~(8Ill COMPANIES INC Brooklyn Academy of Music and Bang on a Can Bruce C. Ratner Michael Gordon Chairman of the Board David Lang Alan H. Fishman Julia Wolfe Chairman, Campaign for BAM Co-Artistic Directors Karen Brooks Hopkins Kenny Savelson President Executive Producer Joseph V. Melillo Executive Prod ucer present the Bang on a Can Marathon Approximate BAM Howard Gilman Opera House running time: , Oct 28, 2001, at 2pm 8 hours Composers Performers Elizabeth Brown BoaC All-Stars David Chesworth David Chesworth Ensemble Sussan Deyhim Ethel Arnold Dreyblatt Icebreaker Marti Epstein Kyaw Kyaw Naing Joshua Fried Newband John Godfrey The Orchestra of Excited Strings Michael Gordon Ivo Papasov & Zig Zag Trio David Lang So Percussion Marc Mellits Marc Perlman Kyaw Kyaw Naing Kathleen Supove Ivo Papasov TroIIstilt Harry Partch Wu Man/Makubuya Dan Plonsey Evan Ziporyn TroIIstilt Diderik Wagenaar Julia Wolfe Wu Man & James Makubuya Evan Ziporyn Special thanks to Samantha. 25 Program COMPOSER NAME OF WORK PERFORMER 2pm-4pm Harry Partch Castor and Pollux Newband Elizabeth Brown Delerium Newband Joshua Fried Headset Sextet BoaC All-Stars Julia Wolfe Early That Summer Ethel Marc Mellits 5 Machines BoaC All-Stars 4pm-6pm Kyaw Kyaw Naing Hsaing Chaik De Maungt BoaC All-Stars w/Kyaw Kyaw Naing* Sein Osit BoaC All-Stars w/Kyaw Kyaw Naing* Tiloun (U Ko Ko)t BoaC All-Stars w/Kyaw Kyaw Naing* Marti Epstein She Fell into a Wall of Sorrows Kath leen Su pove Diderik Wagenaar Metrum** Icebreaker Evan Ziporyn Be In Ethel w/Evan Ziporyn David Lang The So-called Laws of Naturet So Percussion* 6pm-8pm John Godfrey Gallows' Hillt Icebreaker Michael Gordon Yo Shakespeare Icebreaker Troll stilt Roulette Trollsti It *. David Chesworth Badlands David Chesworth Ensemble* Arnold Dreyblatt Nodal Excitation Orchestra of Excited Strings* Arnold Dreyblatt Mean Time Orchestra of Excited Strings* Arnold Dreyblatt The Adding Machine Orchestra of Excited Strings* 8pm-10pm Wu Man and James Makubuya Wu Man/Makubuya Dan Plonsey The Plonsey Episodes 1-9 BoaC All-Stars Sussan Deyhim Lost Exit BoaC All-Stars wi Sussan Deyhim Ivo Papasov Ivo Papasov and Zig Zag Trio* t World Premiere * Bang on a Can Debut ** U.S. Premiere Times approximate: schedule subject to change. The Bang on a Can Marathon was made possible in part with public funds from the National Endowment for the Arts and the generous support of the Rockefeller Foundation. The Plonsey Episodes 1-9 and 5 Machines were commissioned by the ,members of The People's Commissioning Fund at Bang on a Can. Gallows' Hill was commissioned by the Arts Council of Ireland An Chomhairle Ealafon. 26 BANG ON A CAN ALL-STARS ICEBREAKER Robert Black bass James Poke Flutes panpipes Lisa Moore piano and keyboards Richard Craig MD Steven Schick percussion Walter Fabeck keyboards Mark Stewart electric guitar Ian Watson accordion Wendy Sutter cello Christian Forshaw saxes Evan Ziporyn clarinet and bass clarinet Mick Foster saxes Daniel Gresson percussion DAVID CHESWORTH ENSEMBLE Ian Mellish stage manager David Chesworth electron ics Audrey Riley cello Jeremy Alsop electric bass Dominic Saunders keyboa rds Xenia Hanusiak percussion Paul Stevens saxes John McAIl piano Rowland Sutherland flutes, panpipes Stephanie Lyndner violin Emma Welton violin Caerwen Martin cello Peter Wilson bass, guitar Simon Myers trombone James Woodrow guitars Peter Neville percussion Andrew Zolinsky keyboards ARNOLD DREYBLATT'S ORCHESTRA OF IVO PAPASOV & ZIG ZAG TRIO EXCITED STRINGS Ivo Papasov clarinet Robert Black acoustic bass, Ateshghan Juseinov guitar &tambura excited strings bass Peter Ralchev accordian Jeff Lieberman electric guitar Stoyan Yankoulov tupan & percussion Laurel Smith violin Salif drums Mark Stewart electric guitar, excited strings bass NEWBAND Danny Tunick percussion Dean Drummond kithara Evan Ziporyn cimbalom Stefani Starin flutes Gregory Hesselink cello/surrogate kithara ETHEL Nelson Padgett synthesizer Ralph Farris viola Nina Kellman harmonic canons Dorothy Lawson cello Michael Lipsey kithara/bass marimba Todd Reynolds viol in Bill Ruyle diamond marimba/bamboo marimba Mary Rowell violin Tom Kolor diamond marimba/bass marimba Jeffrey Kraus cloud chamber bowls SO PERCUSSION Timothy Feeney WU MAN & JAMES MAKUBUYA Todd Meehan Wu Man pipa Douglass Perkins James Makubuya endongo Jason Treuting SUSSAN DEYHIM voice TROLLSTILT Monica Mugan classical & steel-string guitars KATHLEEN SUPOVE piano Dan Trueman, hardanger & electric fiddles KYAW KYAW NAING PERFORMERS Kyaw Kyaw Naing pat waing Marc Perlman keyboard 27 ~"L~ _ Welcome to all of you. It's great to be back at the Next Wave Festival at BAM. This year's marathon is dedicated to inter­ national brother/sisterhood. We had planned a celebration of ensembles from around the globe, and now, given the dramatic changes in the world, we feel the need to bring them here together all the more. We are raised by their magnificent spirit and talent. They combat the powers of destruction with their brilliant creative force. From Australia to Africa, from Bulgaria to Burma, they come to feed New York with thei r amazi ng energy. The day ign ites with the other-worldly tones of the Harry Partch instruments performed by Newband. We honor Harry Partch on this, the lOOth anniversary of his birth. Throughout the day you'll hear the coming together of China and Africa with Wu Man and James Makubuya, England's amazing post-minimal rock band Icebreaker, the plaintive micro-tones of Arnold Dreyblatt's Orchestra of Excited Strings, the gripping New York string quartet Ethel, the propulsive rhythms of Australia's David Chesworth, and multiple thrill-a-minute premieres by BoaC's own house band, the Bang on a Can All-Stars, including collaborations with Burmese drum-circle master Kyaw Kyaw Naing and Persian diva Sussan Deyhim. Stay all day or come and go as you like. But don't stray far. You won't want to miss the ecstatic Bulgarian wedding music of Ivo Papasov that closes the day. We thank all of YOU for coming today. We realize that it takes a special-extra effort to come out and celebrate music. On behalf of all the musicians and everyone involved in the program, our deepest gratitude. -Michael Gordon, David Lang, Julia Wolfe 28 (continued on page 33) Bang on a Can AII-Slars. © Peter Serling, 2001 Bang on a Can Technical Support Sound designer/engineer Andrew Cotton Sound engineer Tim Wong Lighting designer Miriam Nilofa Crowe Production stage manager Janet Clancy Bang on a Can Credits Artistic directors Michael Gordon, David Lang, Julia Wolfe Managing director Kenny Savelson Website project manager Ken Thomson Production & development associate Nadine Goellner Development director Rachel Cohen Publicist Aleba Gartner Board of Directors Patrick Callery Barry Goldberg Micheal Gordon Michael Kushner David Lang Michelle Miller-Adams Jane Stewart Julia Wolfe Adam Wolfensohn 33 ~ALbo'c \ALbo"---__ BANG ON A CAN is a New York-based organi­ Information about Cantaloupe Music, a new zation ded icated to creati ng a foru m for the most record label created by the founders of Bang on innovative and adventurous music of our time. a Can, is at www.cantaloupemusic.com. We aim to discover emerging composers and including the latest from the Bang on a Can ensembles who are exploring new musical terri­ All-Stars, Arnold Dreyblatt & The Orchestra of tories, reaching for a musical expression beyond Excited Strings, Evan Ziporyn, David Lang, and the status quo. Our bold programming concept more. incorporates performing visionary classics written two to three decades ago and pieces by com­ Today's Marathon will be broadcast tonight posers just born at that time-exciting music by on WNYC at 93.9FM and over the Internet our best known living composers and by those at www.wnyc.org, and all this week, only starting to gain recognition. Oct 29-Nov 2, from 11pm-12 midnight on New Sounds hosted by John Schaefer. Composers and Co-Artistic Directors Michael Gordon, David Lang, and Julia Wolfe founded The Bang on a Can Marathon was made possi­ Bang on a Can in 1987. The original idea was ble in part with public funds from the National simple: to have fun with new music. In fourteen Endowment for the Arts and the generous sup­ years Bang on a Can has grown from a one-day port of the Rockefeller Foundation. Ivo festival to a multi-faceted organization. Projects Papasov's appearance is made possible in part include festival concerts and the annual Bang by support from the Trust for Mutual on a Can Marathon in New York City; The Understanding. The performance of Diderik People's Commissioning Fund, a membership Wagenaar's piece is made possible in part by program to commission emerging composers; a support from The Consulate General of the resident ensemble, the Bang on a Can All-Stars, Netherlands, Gaudeamus MuziekGroep who tour to major festivals and concert venues Nederland, and The Netherland America around the world every year; recording projects; Fou ndation. the Bang on a Can Summer Institute for Music at Mass MoCA, an educational program for Bang on a Can's programs are made possible young composers and performers; and such in part with public funds from the National cross-disciplinary collaborations as Bang on a Endowment for the Arts, the New York State Can's comic-book opera The Carbon Copy Council on the Arts, and the New York City Building, featuring original drawings by cartoon­ Department of Cultural Affairs. Other contribu­ ist Ben Katchor; ShadowBang, featuring the tors include the ASCAP Foundation, Mary Duke Bang on a Can All-Stars with Balinese shadow Biddle Foundation, Botwinick-Wolfensohn puppet master I Wayan Wija; and projects with Foundation, Mary Flagler Cary Charitable Trust, DJs, visual artists, choreographers, filmmakers, Chamber Music America, The Consulate and more.
Recommended publications
  • Avance Dossier De Prensa
    AVANCE1 DOSSIERwww.madrid.org/fo DE PRENSA AVANCE XXVIII FESTIVAL DE OTOÑO EN PRIMAVERA Foto: Fernando Aceves 2 www.madrid.org/fo2 www.madrid.org/fo 3 3 www.madrid.org/fowww.madrid.org/fo EN PRIMAVERA XXVIII FESTIVAL DE OTOÑO AVANCE DE PROGRAMACIÓN ÍNDICE DE ESPECTÁCULOS POR ORDEN ALFABÉTICO 7 ÍNDICE DE COMPAÑÍAS POR ORDEN ALFABÉTICO 9 INTRODUCCIÓN 11 ESPECTÁCULOS 13 PROGRAMACIÓN POR ESPACIOS ESCÉNICOS 219 PROGRAMACIÓN POR ORDEN CRONOLÓGICO 223 DIRECCIONES Y PRECIOS. VENTA DE LOCALIDADES 233 Foto: Iván y Nacho Azagra XXVIII festival de otoño en primavera Comunidad de Madrid XXVIII festival de otoño en primavera Comunidad de Madrid XXVIII festival de otoño en primavera Comunidad de Madrid XXVIII festival de otoño en primavera Comunidad de Madrid XXVIII festival de otoño en 4 www.madrid.org/fo4 www.madrid.org/fo 5 5 www.madrid.org/fowww.madrid.org/fo Foto: Andrew Bruce Foto: en primavera Índice por espectáculos XXVIII festival de otoño 2: DIALOGUE WITH LUCINDA Nicole Beutler 127 AL MENOS DOS CARAS Projects in Movement - Sharon Fridman 109 ALGO DE RUIDO HACE Lautaro Perotti 121 AMERICAN UnPOP Bang on a Can All-Stars 37 AMNESIA Familia Productions - Fadhel Jaïbi 201 BAILE DE MÁSCARAS State Theater Evgueny Vakhtangov 207 CIRCA Circa 43 CIRCENSES Circus Ronaldo 19 COCORICO Patrice Thibaud 91 COMEDIA Y SUEÑO Compañía Teatro del Estudio 159 DELUSION Laurie Anderson 177 EL VIENTO EN UN VIOLÍN Timbre 4 85 ESTADO DE IRA Ciro Zorzoli 139 JUNGLES Patrice Thibaud 133 KASPAR de Peter Handke Theater an der Ruhr 189 KÖRPER Sasha Waltz & Guests 145 LA CURVA
    [Show full text]
  • Program Notes Hosted by the Score Board 7:00
    DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Program Notes hosted by the Score Board 7:00 MICHAEL TIPPETT Concerto for Double String Orchestra HAROLD MELTZER Full Faith and Credit (2004) (1938–39) I. Rugged I. Allegro con brio II. Homespun II. Adagio cantabile III. Blistering III. Allegro molto – Poco allargando IV. Viscous V. Genteel VI. Hymn VII. Rugged MATHEW ROSENBLUM Double Concerto for Baritone Saxophone, Percussion, and Orchestra (2010) Ronald Haroutunian, bassoon World Premiere Adrian Morejon, bassoon I. II. III. STEPHEN PAULUs Concerto for Two Trumpets and Orchestra (2003) IV. I. Fantasy V. II. Elegy III. Dance Kenneth Coon, baritone saxophone Terry Everson, trumpet Lisa Pegher, percussion Eric Berlin, trumpet INTERMISSION GIL ROSE, CONDUCTOR * Commissioned by the Fromm Music Foundation for Kenneth Coon and the Boston Modern Orchestra Project (Gil Rose, conductor) 4 5 PROGRAM NOTES By Robert Kirzinger TONIGHT’s COLLECTION OF DOUBLE CONCERTOS demonstrates the modern range of a genre that developed beginning about the end of the 1600s, essentially parallel to the solo concerto. Double and other multiple concertos were quite common in the High Baroque, including lots of examples by Vivaldi and, under his influence, Bach, but the solo concerto dominates the Classical period and beyond, with relatively few notable exceptions—Mozart’s two-piano concerto and sinfonias concertante, Beethoven’s Triple, Brahms’s Double—remaining solidly in today’s orchestral repertoire. This concert’s variety of approaches has as its chronological and stylistic extremes Michael Tippett’s 1939 GER Concerto for Double String Orchestra—one of the composer’s first works of significance— N and the brand-new, up-to-the-moment world premiere of the Double Concerto for Baritone GRAI Saxophone, Percussion, and Orchestra written for BMOP by Pittsburgh-based Mathew CLIVE Rosenblum.
    [Show full text]
  • Ross Bauer, Composer Portrait Celebrating His Sixtieth Birthday
    Mika Pelo and Kurt Rohde, co-directors PeRFoRMeRS Hrabba atladottir, violin ellen Ruth Rose, viola Mary artmann, cello Michael Seth orland, piano Peter Josheff, clarinet eric Zivian, piano Jean-Michel Fonteneau, cello Ross Bauer, Composer Portrait Celebrating His Sixtieth Birthday 7:00 pm, Sunday, JanuaRy 22, 2012 Vanderhoef Studio Theatre, Robert and Margrit Mondavi Center for the Performing arts 6:15pm pre-ConCert TalK with composers Ross Bauer, Martha Horst, and Harold Meltzer EmpyRean enSemble Co-directors Mika Pelo Kurt Rohde PERFORMERS Hrabba Atladottir, violin Ellen Ruth Rose, viola Mary Artmann, cello Michael Seth Orland, piano Peter Josheff, clarinet Eric Zivian, piano Jean-Michel Fonteneau, cello adMinistraTiVe & PRoduction STaff Christina Acosta, editor Philip Daley, publicity manager Rudy Garibay, designer Joshua Paterson, production manager THe dePartmenT oF MuSiC preSents The empyrean ensemble Mika Pelo and Kurt Rohde, co-directors Ross Bauer Composer Portrait Program The Near Beyond for Clarinet and String Trio Ross Bauer (b. 1951) Pink Angels for Violin, Viola, and Violoncello Harold Meltzer (world premiere, in honor of Ross Bauer’s sixtieth birthday) (b. 1966) Riff Tides for Violin, Cello, Viola, Bass Clarinet Martha Horst (world premiere, in honor of Ross Bauer’s sixtieth birthday) (b. ) Tribute for Cello and Piano Ross Bauer intermission Sequenza IX for Solo Clarinet Luciano Berio (1925–2003) Piano Quartet Ross Bauer Moderato Adagio Allegro giocoso Please join us for a reception following the concert in the Bartholomew Room Sunday, January 22, 2012 • 7:00 pm Vanderhoef Studio Theatre, Mondavi Center We ask that you be courteous to your fellow audience members and the performers.
    [Show full text]
  • Music 10378 Songs, 32.6 Days, 109.89 GB
    Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’…
    [Show full text]
  • MEREDITH MONK ··M···EM··O·R···Y ····G·A····ME··· 1 Spaceship (1983) �������������������������������������������������������������������������������������������� 4:18
    MEREDITH MONK ··M···EM··O·R···Y ····G·A····ME··· 1 Spaceship (1983) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4:18 2 Gamemaster’s Song (1983) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5:12 Vocal Solo: Theo Bleckmann 3 Migration (1983) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 7:37 Words by Ping Chong, performed by Michael Cerveris 4 Memory Song (1983) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6:44 Words by Meredith Monk 5 Downfall (1983) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3:56 6 Waltz in 5s (1996) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3:54 Vocal Solo: Katie Geissinger 7 Tokyo Cha Cha (1983) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 9:45 8 Totentanz (2006) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3:12 9 Double Fiesta (1986) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5:42 Vocal Solo: Meredith Monk MEMORY GAME Music by Meredith Monk Meredith Monk & Vocal Ensemble Theo Bleckmann, Katie Geissinger, Meredith Monk, Allison Sniffin: voices Allison Sniffin: bowed psaltery Michael Cerveris: guest artist Bang on a Can All-Stars Ashley Bathgate: cello and voice Robert Black: electric and acoustic bass Vicky Chow: piano, keyboard
    [Show full text]
  • 108-Oppens-Plays-Carter-Booklet.Pdf
    Ellliott Carter (b. 1908) 1 90+ (1994) (4:55) 2 Retrouvailles (2000) (1:38) 3 Night Fantasies (1980) (19:48) Producer & Engineer: Judith Sherman Engineering & Editing Assistant: Jeanne Velonis Two Diversions (1999) (7:28) Graphic Design: Melanie Germond 4 I. (4:03) 5 Cover Photo: Christian Steiner II. (3:21) Photo of Elliott Carter and Ursula Oppens (p. 3 & traycard): Malcolm Addey 6 Matribute* (2007) (2:05) Recorded February 4–8, 2008, at the American Academy of Arts and Letters, NYC OPPENS Piano Sonata (1945–46) (23:31) Steinway Piano 7 I. Maestoso; Legato scorrevole (10:22) PLAYS Publishers: 8 II. Andante (13:03) 90+, Retrouvailles, Two Diversions for Piano, Two Thoughts about Piano (Caténaires and CARTER Intermittences): Hendon Music, Inc Two Thoughts About the Piano (2005–06) (10:55) Night Fantasies: Associated Music Publishers 9 Intermittences (7:04) Matribute: Boosey & Hawkes, Inc. bk ELLIOTT Piano Sonata: Theodore Pressser Company Caténaires* (3:48) Total: (70:53) CARTER Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. AT 100 The Chicago Classical Recording Foundation’s activities are supported in part by contributions Ursula Oppens piano and grants from individuals, foundations, corporations, and government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, NIB Foundation, *World Premiere Recording THE Negaunee Foundation, Sage Foundation, Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. COMPLETE Contributions to The Chicago Classical Recording Foundation may be made at PIANO www.cedillerecords.org or 773-989-2515.
    [Show full text]
  • Sidney Corbett Im Oktober 2001 Foto: Jörg Landsberg, Bremen
    Oldenburgische Beiträge zu Jüdischen Studien Band 21 Oldenburgische Beiträge zu Jüdischen Studien Schriftenreihe des Studiengangs Jüdische Studien in der Fakultät IV der Carl von Ossietzky Universität Band 21 Herausgeber Aron Bodenheimer †, Michael Daxner, Kurt Nemitz, Alfred Paffenholz †, Friedrich Wißmann mit dem Vorstand des Studiengangs Jüdische Studien und dem Dekan der Fakultät IV Mit der Schriftenreihe „Oldenburgische Beiträge zu Jüdischen Studien“ tritt ein junger Forschungszweig der Carl von Ossietzky Universität Oldenburg an die Öffentlichkeit, der sich eng an den Gegenstand des Studienganges Jüdische Studien anlehnt. Es wird damit der Versuch unternommen, den Beitrag des Judentums zur deutschen und europäischen Kultur bewusst zu machen. Deshalb sind die Studiengebiete aber auch die Forschungsbereiche interdisziplinär ausgerichtet. Es sollen unterschiedliche Themenkomplexe vorgestellt werden, die sich mit Geschichte, Politik und Gesellschaft des Judentums von der Antike bis zur Gegenwart beschäftigen. Ein anderes Hauptgewicht liegt auf der biblischen und nachbiblischen Religion. Ergän- zend sollen aber auch solche Fragen aufgenommen werden, die sich mit jüdischer Kunst, Literatur, Musik, Erziehung und Wissenschaft beschäftigen. Die sehr unterschiedlichen Bereiche sollen sich auch mit regionalen Fragen befassen, soweit sie das Verhältnis der Gesellschaft zur altisraelischen bzw. Jüdischen Religion berühren oder auch den Antisemitismus behandeln, ganz allgemein über Juden in der Nordwest-Region informieren und hier auch die Vernichtung
    [Show full text]
  • Field Recordings
    Photo by Stephanie Berger Bang on a Can All-Stars Field Recordings PROGRAM Sun, Oct 25 at 7pm Bang on a Can All-Stars Royce Hall Ashley Bathgate Cello Robert Black Bass Vicky Chow Piano and keyboard David Cossin Percussion Mark Stewart Electric guitar Ken Thomson Clarinets Andrew Cotton Sound engineer RUNNING TIME FIELD RECORDINGS Approximately 90 minutes; no intermission Julia Wolfe Reeling Florent Ghys An Open Cage Michael Gordon Gene Takes a Drink (with film by Bill Morrison) Christian Marclay Fade to Slide (with film) David Lang unused swan Tyondai Braxton Casino Trem Jóhann Jóhannsson Hz (with film) Todd Reynolds Seven Sundays Steve Reich The Cave of Machpelah (excerpt from The Cave) MEDIA SPONSOR: (arr. Michael Gordon) Bryce Dessner Maximus to Gloucester, Letter 27 [withheld] (with film) Anna Clyne A Wonderful Day PROGRAM NOTES MESSAGE FROM THE CENTER: For 135 years recorded sound has permeated every corner of our For almost 25 years, the phrase Bang On A Can All-Stars lives, changing music along with everything else. Bartok and Kodaly has been synonymous with innovation in the world of took recording devices into the hills of central Europe and modern contemporary music. While the performer lineup may music was never the same; rock and roll’s lineage comes from change periodically, the symbiotic relationship between artists revealed to the world by the Lomaxes, the Seegers, and other musicians and modern composers remains staunchly and archivists. Hip-hop culture democratized sampling: popular music illuminatingly in place. today is a form of musique concrète, the voices & rhythms of the past mixing with the sound of machinery and electronics.
    [Show full text]
  • Fine Arts Center Playbill; Full Page; Full Color; 4.875 X 7.75 Specs: Electronic Files Should Be in a PDF Format
    University of Massachusetts Amherst FINE ARTS CENTER Center Series/Asian Arts & Culture Program March 5 through March 27 PLAYBILL Company Coca-Cola The of trademarks are Symbols Sustainability the and Bottle Contour the POSITIVELY, LIVE Coca-Cola, 2009 © BRAVO. we're in your fridge. and in your corner. proud to support the Fine Arts Center. Coca-Cola Bottling Co of Greenfield 180 Silvio O. Conte Drive Greenfield, MA 01301 (800) 525-3788 please visit www.coca-cola.com 2 We’ve Mastered the Fine Art of Health Care Whether your family is large or small and your medical needs are simple or complex, when your doctor is a member of Baystate Medical Practices, you’re connected to: • A region-wide network of family physicians, internists, pediatricians, and obstetrician/gynecologists • A vast array of physician specialists, from cardiologists and oncologists to pediatric surgeons and gastroenterologists • Hospital-based physician services, with a staff of doctors specially trained to care for hospital patients • All the resources of Baystate Health, with its academic 4.875 x 7.75 medical center, children’s hospital, and cancer center For a referral to a Baystate doctor, call 800-377-4325. baystatehealth.org/bmp 3 Symphony Springfield 093572_BMP_FineArt_UMASS.indd 1 8/13/09 3:02:23 PM Your Choice for the Arts Subscribe today 586.1925 4 Perfecting the art of financial planning and putting the spotlight on your future. HB Financial Group LLC 28 Amity Street, 1C | Amherst 413-256-0677 | www.hbfinancialgroup.com Securities and Advisory Services offered through Commonwealth Financial Network®, Member FINRA/SIPC, a Registered Investment Adviser.
    [Show full text]
  • Pulitzer Prize Winners and Finalists
    WINNERS AND FINALISTS 1917 TO PRESENT TABLE OF CONTENTS Excerpts from the Plan of Award ..............................................................2 PULITZER PRIZES IN JOURNALISM Public Service ...........................................................................................6 Reporting ...............................................................................................24 Local Reporting .....................................................................................27 Local Reporting, Edition Time ..............................................................32 Local General or Spot News Reporting ..................................................33 General News Reporting ........................................................................36 Spot News Reporting ............................................................................38 Breaking News Reporting .....................................................................39 Local Reporting, No Edition Time .......................................................45 Local Investigative or Specialized Reporting .........................................47 Investigative Reporting ..........................................................................50 Explanatory Journalism .........................................................................61 Explanatory Reporting ...........................................................................64 Specialized Reporting .............................................................................70
    [Show full text]
  • Album Booklet
    DANCE MAZE Chamber Music by Tom Armstrong Simon Desbruslais trumpet Jakob Fichert piano Nicola Meecham piano Audrey Riley cello James Woodrow electric guitar Fidelio Trio Dance Maze Chamber Music by Tom Armstrong Simon Desbruslais trumpet 7 Morning Music (2012–15) Jakob Fichert piano 6–7 1. Limit [1:47] 1–3 2 .Trails [1:10] Nicola Meecham piano 3. Aubade [8:06] Audrey Riley cello 5 5 James Woodrow electric guitar 4. Diverssements (2009) [11:12] Fidelio Trio: 5. Diversions 3 (2015) [17:53] Darragh Morgan violin 4 & 8 Robin Michael cello 4 6. Dance Maze: Variaons for Piano Mary Dullea piano 4 & 8 (1994, revised 2008, 2017) [12:05] 7. Dance Maze: Duos for Trumpet and Piano (2016–17) [19:37] 8. Akin (2008) [6:23] Total playing me [78:18] Dance Maze: Chamber Music by encompasses self-quotaon – such as Tom Armstong found frequently in Shostakovich’s output (a pracce that can occasion as Revision and Re-working much debate as the existence of compeng revisions) – and the recycling of extant All but one of the pieces on this recording pieces as part of new, larger works as sit on a connuum bounded by revision exemplified by Handel, Bach and (less and re-working. Whilst some (Dance Maze: well-known) Lou Harrison.2 The change Variaons for Piano, Diverssements) of genre that oen accompanies recycling involve greater or lesser adjustments to (for example, Bach’s re-purposing of music an original version, others (Dance Maze: from a solo violin parta as orchestral Duos for Trumpet and Piano, Diversions 3) music for a cantata Sinfonia) produces contain fundamental changes that transform co-exisng versions that can sit less the way an earlier work sounds.
    [Show full text]
  • Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
    COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright The Electric Guitar in Contemporary Art Music Zane Mackie Banks A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music Sydney University 2013 Statement of Originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: …………………………………………………………………………… Date: ………………………………………………………………………………. Abstract Since 1950 the electric guitar has occupied an ever-increasing presence in contemporary art music both as a solo and chamber instrument.
    [Show full text]