JULIEN LEROY Conductor

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JULIEN LEROY Conductor Encouraged by Pierre Boulez, French rising star Julien Leroy started his career working as an assistant conductor of the Opéra de Paris and Ensemble Intercontemporain (EIC) with Susanna Mälkki and Matthias Pintscher. In 2014, he was awarded the ADAMI ‘Talents Chefs d’Orchestre’ Prize. Such early success was followed by numerous engagements with orchestras in France, such as the Orchestre National de Lorraine, Orchestre Symphonique de Mulhouse, Orchestre d’Auvergne, Orchestre de Chambre de Paris, Orchestre Régional de Normandie, Orchestre Philharmonique de Radio France, the Orchestre National de Lille, the Orchestre National des Pays de la Loire, the Orchestre Symphonique et Lyrique de Nancy, the Orchestre de Picardie, Orchestre Philharmonique de Monte-Carlo, Orchestre des Pays de Savoie and Orchestre National d’Ile de France, the latter of which he conducts as a regular guest. Abroad, Julien Leroy was invited to conduct the Orchestre de la Suisse-Romande, the New Japan Philharmonic, the Tokyo Symphony Orchestra, the Ottawa National Arts Centre Orchestra, the Arturo Toscanini Philharmonic, the Gulbenkian Foundation Orchestra, the Beirut Philharmonic Orchestra, Birmingham Contemporary Music Group, the Verbier Festival Orchestra as well as the orchestra of the Luzern Festival Academy. With Ensemble Intercontemporain, he has appeared in Brussels (BOZAR), Lisbon (Gulbenkian Foundation) and toured Mexico, Germany, Poland and Italy. He was appointed as the Artistic Director of the Paris Percussion Group in 2014, and as First Guest Conductor with the Ensemble United Instruments of Lucilin in Luxembourg in 2019. Recent highlights include the premiere of Kein Licht, an opera by Philippe Manoury and a co- production with Ruhrtriennale, Berliner Festspiele, Luxembourg Theaters, Zagreb National Croatian Theatre, Festival Musica, and IRCAM, at the Opéra-Comique last season; a concert in tribute to Pierre Boulez at the KKL in Luzern; his debut with Klangforum Wien and a much anticipated return to the Opéra-Comique to conduct their new production of Boeildieu’s La Dame Blanche. In the autumn 2020, Julien Leroy will conduct Gilbert Amy’s opera with Opéra de Massy and will make his debut with Orchestre de Chambre de Luxembourg. Julien Leroy studied conducting at the Sergiu Celibidache Stiftung München with Konrad von Abel and Adrian McDonnell in Paris, followed by masterclasses directed by Valery Gergiev, Kurt Masur, Jorma Panula and Daniel Harding, whom he also assisted (Swedish Radio Symphony Orchestra). He has also worked with Pierre Boulez, Peter Eötvös, Sir Simon Rattle and Pablo Heras-Casado at the Luzern Festival Academy. He is a laureate of both the 15th Tokyo International Music Competition and the Ottawa National Arts Centre 2009 Young Artists Conducting Programme, the latter supervised by Pinchas Zukerman and Kenneth Kiesler. Spring 2020 www.clbmanagement.co.uk [email protected] V418, Vox Studios, 1-45 Durham Street, London SE11 5JH Phone: +44 (0) 20 3176 9295 .

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This is America! Meredith Monk (b. 1942) 1 Ellis Island 3’02 Leonard Bernstein (1918-1990) Symphonic Dances from West Side Story (transcription: John Musto) 2 Prologue 4’18 3 Somewhere 4’29 4 Mambo 2’19 5 Cha-Cha 1’02 6 Meeting Scene 0'41 7 Cool 0’38 8 Fugue 3’02 9 Rumble 2’01 10 Finale 2’27 Philip Glass (b. 1937) Four Movements for Two Pianos 11 Movement 1 6’21 12 Movement 2 4’49 13 Movement 3 6’19 14 Movement 4 5’30 John Adams (b. 1947) Hallelujah Junction 15 Movement 1 6’43 16 Movement 2 2’52 17 Movement 3 5’58 TT: 62’34 3 THIS IS AMERICA! | VANESSA WAGNER & WILHEM LATCHOUMIA Entretien avec Vanessa Wagner et Wilhem Latchoumia Apparu au milieu des années 60 aux États-Unis, le courant minimaliste a longtemps tutoyé l’avant-garde avant de gagner, au fil des ans, une audience beaucoup plus large et de s’imposer comme une étape majeure de la musique contemporaine. Terry Riley, La Monte Young, Steve Reich et Philip Glass, tous américains, sont considérés comme les pionniers de ce courant. Si beaucoup de ces compositeurs contestent l’étiquette minimaliste, réductrice à leurs yeux, leur approche se rejoint dans la recherche de nouvelles structures musicales, comme l’emploi de motifs répétitifs, une certaine forme de dépouillement et l’emploi de certains procédés spécifiques (la technique de « phasing » de Reich, utilisant simultanément des enregistrements avec un léger décalage). Les minimalistes ont intégré de nombreuses influences pour nourrir leur travail, le jazz et l’improvisation pour Terry Riley, la mouvance expérimentale pour La Monte Young, la musique indienne pour Philip Glass, les cultures africaines pour Steve Reich.
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Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
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Theodor ADORNO (1903-1969). German Poet and Philosopher, Also a Composer
Theodor ADORNO (1903-1969). German poet and philosopher, also a composer. He was a pupil of Alban Berg and a member of Schoenberg’s circle in Vienna. He emigrated to the USA in 1934 but returned to Germany later to teach. His writings about composers include the influential Die Philosophie der neuen Musik (1949), mainly about Schoenberg and Stravinsky. Gilbert AMY (b.1936). French composer and conductor, and pupil of Olivier Messiaen. He attended Stockhausen’s Darmstadt courses and met Pierre Boulez in 1957. He was appointed by Jean-Marie Barrault ( q.v.) as Music Director of the Odéon Theatre, and later succeeded Pierre Boulez as Director of the Domaine Musical, and, still later, became Director of the Conservatoire in Lyon. Hedli ANDERSON (Antoinette Millicent Hedley Anderson). (1907-1990). English singer and actress. She studied in Germany and, on her return, appeared in cabaret and plays by Auden, Isherwood and Louis MacNeice ( to whom she was married from 1942-60).Composers who wrote for her included Benjamin Britten, Elisabeth Lutyens (q.v.) and William Alwyn. Auden’s famous poem Funeral Blues was written for her and set to music by Britten. In later life she ran a seafood restaurant in Co. Cork. Jean-Louis BARRAULT (1910-1994). French actor, director and mime artist. He portrayed Jean-Gaspard Deburau ( q.v.) in Marcel Carné’s 1945 film Les Enfants du Paradis. He was a member of the Comédie Française from 1940-46 where he directed famous productions of works by Claudel (q.v.) and Racine. He also acted in around 50 films.
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The Late Choral Works of Igor Stravinsky
THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY _________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia ________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________________________ by RUSTY DALE ELDER Dr. Michael Budds, Thesis Supervisor DECEMBER 2008 The undersigned, as appointed by the dean of the Graduate School, have examined the thesis entitled THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY presented by Rusty Dale Elder, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________________ Professor Michael Budds ________________________________________ Professor Judith Mabary _______________________________________ Professor Timothy Langen ACKNOWLEDGEMENTS I would like to express my deepest gratitude to each member of the faculty who participated in the creation of this thesis. First and foremost, I wish to recognize the ex- traordinary contribution of Dr. Michael Budds: without his expertise, patience, and en- couragement this study would not have been possible. Also critical to this thesis was Dr. Judith Mabary, whose insightful questions and keen editorial skills greatly improved my text. I also wish to thank Professor Timothy Langen for his thoughtful observations and support. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………...ii ABSTRACT……………………………………………………………………………...v CHAPTER 1. INTRODUCTION: THE PROBLEM OF STRAVINSKY’S LATE WORKS…....1 Methodology The Nature of Relevant Literature 2. “A BAD BOY ALL THE WAY”: STRAVINSKY’S SECOND COMPOSITIONAL CRISIS……………………………………………………....31 3. AFTER THE BOMB: IN MEMORIAM DYLAN THOMAS………………………45 4. “MURDER IN THE CATHEDRAL”: CANTICUM SACRUM AD HONOREM SANCTI MARCI NOMINIS………………………………………………………...60 5.
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Bulletin 2006/Music/Pages
ale university July 20, 2006 2007 – Number 4 bulletin of y Series 102 School of Music 2006 bulletin of yale university July 20, 2006 School of Music Periodicals postage paid New Haven, Connecticut 06520-8227 ct bulletin of yale university bulletin of yale New Haven Bulletin of Yale University The University is committed to basing judgments concerning the admission, education, and employment of individuals upon their qualifications and abilities and affirmatively seeks to Postmaster: Send address changes to Bulletin of Yale University, attract to its faculty, staff, and student body qualified persons of diverse backgrounds. In PO Box 208227, New Haven ct 06520-8227 accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against any individual on PO Box 208230, New Haven ct 06520-8230 account of that individual’s sex, race, color, religion, age, disability, status as a special disabled Periodicals postage paid at New Haven, Connecticut veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation. Issued seventeen times a year: one time a year in May, November, and December; two times University policy is committed to affirmative action under law in employment of women, a year in June; three times a year in July and September; six times a year in August minority group members, individuals with disabilities, special disabled veterans, veterans of the Vietnam era, and other covered veterans. Managing Editor: Linda Koch Lorimer Inquiries concerning these policies may be referred to Valerie O.
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Curriculum Vitae
JAROSLAW KAPUSCINSKI CURRICULUM VITAE CHAIR, DEPARTMENT OF MUSIC, STANFORD UNIVERSITY BRAUN MUSIC CENTER, 541 LASUEN MALL, STANFORD, CA94305-3076 650.723.2717 [email protected] 2 CONTENT EDUCATION – 3 TEACHING EXPERIENCE – 6 GUEST LECTURES AND SYMPOSIA – 8 AWARDS AND GRANTS – 11 ARTISTIC RESIDENCIES – 14 LIST OF WORKS WITH PERFORMANCE HISTORY – 15 PERFORMANCES AS FEATURED ARTIST – 33 PUBLICATIONS – 35 PROFESSIONAL SERVICES – 38 MISCELLANEOUS – 40 3 EDUCATION DEGREE WORK 1997 University of California, San Diego, CA Ph.D. in Music Composition Dissertation: – Composing with Sounds and Images: Basic Theory of Intermedia – Mudras (video) Studies: – Committee Chair, Composition: Rand Steiger – Computer Media: Miller Puckette – Computer Animation: Vibeke Sorensen – Visual Arts: Ernest Silva – Literature: Jerome Rothenberg – Performance: Steven Schick 1991 Fryderyk Chopin Music Academy, Warsaw, Poland M. Mus. in Music Composition Thesis: – Mondrian Variations (video) – Esquisses affectives for symphonic orchestra Studies: – Composition and Electronic Music: Wlodzimierz Kotonski 1987 Fryderyk Chopin Music Academy, Warsaw, Poland M. Mus. in Piano Performance Studies: – Contemporary Music: Szabolc Esztenyi – Classical Music: Jan Ekier, Bronislawa Kawalla 4 OTHER ADVANCED COURSES & RESEARCH 2001 Faculty of Music, McGill University, Montréal, Canada Postdoctoral Fellow Development of a computerized system for audio-visual performance and composition. 1999–2000 ZKM | Center for Art and Media Technology, Karlsruhe, Germany (in collaboration with Karlsruhe University Polytechnic and Frankfurt Ballet) Research and development for an installation using motion simulation platform and immersive audiovisual projection. Development of Yours, a work for musical instrument and projected body. 1997–99 Center for Research in Computing and the Arts (CRCA), University of California, San Diego, CA Postdoctoral Fellow Numerous experiments and studies in intermedia composition.
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Soloists of ALEA III E Literature and the Other Arts, Is in Addition to Its Magnificent History an “Music, Lik Wednesday, December 8, 2004, 8 P.M
Music Visit Alea III on the Internet: www.aleaiii.com 1 Twenty-Second International Composition Competition Saturday, September 25, 2004, 7 p.m. Free admission Special event for the premiere performance of the finalists’ works. At the end of the concert, the Alea III Prize will be of the awarded by a distinguished panel of judges. Hee Yun Kim (Republic of Korea) Reversion is the Movement of Tao Jorge Sancho Cebollero (Spain) Et Resurrexi Joseph Sheehan (USA) Dance Dance Revelation Éric Marty (Canada) Buoyancy Karl Fiorini (Malta) Trio "Lamina" Basil Athanasiadis (Greece) This Leaf is Selected Soloists include: Kathleen Boyd, flute, Judi Saiki, harp Theodore Antoniou, conductor World 2 Music Theater Monday, November 8, 2004, 8 p.m. Free admission William Bolcom Cabaret Songs Roger Ames I Wonder Milton Babbitt Cabaret Songs Yehudi Wyner Restaurants, Wines and other Trifles Kurt Weill Old Songs George Kouroupos Little Red Riding-Hood Leonard Bernstein West Side Story (excerpts) 3 Soloists of ALEA III e literature and the other arts, is in addition to its magnificent history an “Music, lik Wednesday, December 8, 2004, 8 p.m. ession of the human spirit. This spirit is embodied in new music. ever-growing expr Free admission emier venue in Boston for the performance of newe Antoniou, music. If Alea III provides the pr Edison Denisov Sonata Op. 12 in C Major Alea III did not exist, it would have to be invented. Thanks to Theodor Theodore Antoniou Suite for Violin and Harpsichord e are all in his debt.” Alea III does exist. W Jani Christou Six T.
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Viewed Möller’S Publication in the Zeitschrift Für Musikwissenschaft, August- September 1931, Pp
J & J LUBRANO MUSIC ANTIQUARIANS Item 87 Joseph Haydn Autograph Letter Catalogue 80 AUTOGRAPH LETTERS OF COMPOSERS SIGNED PHOTOGRAPHS, &c. Part I: A-L 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory number (the 5-digit number in parentheses preceding the price) of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full.
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Tonality and Form in Selected French Piano Sonatas: 1900-1950
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Scottish M Usic Review
w e i v e r Voicing Pierrot c i My Personal Journey s u Jane Manning m h October 7, 2016 s i t t To say that Pierrot Lunaire has been crucial to my career would be an understatement. It’s the o single work that has most influenced my development, shaped my attitudes to rehearsing andper- c s forming, and taught me about the way the voice works. It featured in my first BBC ‘live’ broadcast in 1965 and I’ve derived endless inspiration and joy from performing it at regular intervals, with many different ensembles in many countries, in a rich variety of situations. My earliest experiences were, inevitably, self-centred. I actively avoided hearing other performances for many years, feeling vulnerable, and fearful of having my confidence undermined, or, worse, of lapsing into unconscious imitation. But in recent years I’ve found it stimulating and beneficial to hear and imbibe others’ performances. My repertoire has, meanwhile, expanded to encompass many other substantial and challenging twentieth century pieces. It’s been helpful to get to know more of Schoenberg’s own life, and to be able to place the work in a wider context. This process of collating and assimilating information and influences is of course never-ending. Even taking time to muse and cogitate can yield sudden unexpected flashes of insight and new perspectives. Artistic instincts have always to be kept sharpened, ready to embrace the flood of new ideas that occur with virtually every reading of this extraordinary work. The re-discovery and commercial release, in 2005, on Regis/Forum of one of my very earliest performances could not help but evoke a mood of especially piquant personal reminiscence.
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O Contato De Luciano Berio Com Intérpretes Flautistas E a Composição Da Sequenza I, Para Flauta Solo
Colaboração intérprete-compositor: o contato de Luciano Berio com intérpretes flautistas e a composição da Sequenza I, para flauta solo Cibele Palopoli1 Universidade de São Paulo / Mestrado em Música SIMPOM: Linguagem e Estruturação/Teoria [email protected] Resumo: O presente artigo aborda o relacionamento intérprete-compositor, com foco na colaboração na composição de uma obra musical específica, a Sequenza I (1958), para flauta solo, do compositor italiano Luciano Berio (1925-2003). Berio manteve, ao longo de sua carreira, contato com músicos específicos de diversos instrumentos, fato comprovado pela série de Sequenze, dedicada e motivada por características técnico-musicais de intérpretes específicos. Nesse contexto, a Sequenza I foi elaborada, sobretudo a partir da colaboração do flautista Severino Gazzelloni (1919-1992), conterrâneo e amigo pessoal de Berio. O presente trabalho objetiva introduzir o leitor às correspondências dos intérpretes flautistas Severino Gazzelloni e Aurèle Nicolet a Luciano Berio, consultadas, transcritas e traduzidas na pesquisa de mestrado realizada pela autora a partir de manuscritos situados na Fundação Paul Sacher (Basileia, Suíça) 2 . Posteriormente, dialogando com as ideias apresentadas por Mark McGregor em Severino Gazzelloni and the music of Berio and Fukushima (2012), evidenciamos as principais passagens da peça em que é notória a influência de Gazzelloni na escritura da Sequenza I por Berio, tais como a exploração de técnicas estendidas para flauta, incluindo o uso de trêmulos com intervalos diversos, cliques de chave e multifônicos. Na conclusão, ressaltamos os reflexos do contato de Luciano Berio com intérpretes flautistas na composição da obra em questão, onde há pleno domínio da escrita instrumental, evidenciado pela exploração das possibilidades do instrumento em uma escrita extremamente idiomática e perfeitamente executável.
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NEWS SECTION NEWS SECTION Composers
NEWS SECTION NEWS SECTION Quartet (see also BENOLIEL). Ferneyhough was Guest Professor of Composition at the Royal Conservatoire in Stockholm in Novem- Composers ber. He is working on a chamber synphony commissioned by the London Sinfonietta and a DAVID BEDFORD. Fridiof Kennings (prem- work for clarinet and digital computer com- iere)—10 December j Purcell Room / Myrha missioned by IRCAM. Saxophone Quartet. MICHAEL FINN1SSY. Sir Tristran (premiere) GEORGE BENJAMIN. Duo for cello and — IJ December / St. John's Smith Square / piano (premiere)—$ November / Carnegie Penelope Walmsley-Clark, Circle c. Gregory Hall, New York / Ross Pople, George Ben- Rose. Moon's goin down (premiere)—13 jamin; (U.K. premiere)—14 November / St. November / October Gallery / Fresh Ear. John's Smith Square / Pople, Benjamin. Flight for solo flute (U.K. premiere)—9 JOHN FOULDS (d.1939). Quartetto Intimo January 1981 / Wigmore Hall / Kate Lucas. (London premiere)—4 November / Wigmore Hall I Endellion Quartet. Temple Chant (prem- RICHARD RODNEY BENNETT. Harpsi- iere)—17 October / Manchester, RNCM / chord Concerto (premiere)—4 December / Ensemble c. Timothy Reynish. St. Louis, Missouri / Igor Kipnis, St. Louis SO c. Leonard Slatkin. Puer Nobis (premiere)— HANS WERNER HENZE. Pollicino (U.K. 21 December j Haddo House, Aberdeen / premiere)—16 December / Jeanetta Cochrane Haddo House Choral and Operatic Society c. Theatre / Royal Opera c. David Syrus. June Gordon. ROBIN HOLLOWAY. Ode (U.S. premiere)— BERNARD BENOLIEL. String Quartet 6 November / Worcester, Mass. / English (premiere)—4 January 1981/ BBC recording / Chamber Orchestra. Serenade in C (U.S. Arditti Quartet (see also FERNEYHOUGH). premiere)—26 October / New York / Music Projects. Hollo way has completed an Idyll LUCIANO BERIO.
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