George Benjamin
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Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
J a N U a R Y 2 0
January 2010 Published by the American Recorder Society, Vol. LI, No. 1 • www.americanrecorder.org NEW! Enjoy the recorder Denner great bass Mollenhauer & Friedrich von Huene “The Canta great bass is very intuitive to play, making it ideal for use in recorder “The new Mollenhauer Denner orchestras and can be great bass is captivating with recommended .” its round, solid sound, stable in every register. Its key mechanism Dietrich Schnabel is comfortable and especially (conductor of recor- well designed for small hands. An der orchestras) instrument highly recommended for both ensemble and orchestral playing.” Daniel Koschitzky Canta knick great bass (member of the ensemble Spark) Mollenhauer & Friedrich von Huene G# and Eb keys enable larger finger holes and thus an especially stable sound. The recorder case with many extras With adjustable support spike … saves an incredible amount of space with the two-part middle joint … place for music … integrated recorder stand Order-No. 2646K Order-No. 5606 www.mollenhauer.com A Care and Maintenance Manual Chapter 1 - Where It All For the Recorder Started • A Brief History Your Recorder, like a pet, can "purr like a well fed pussycat, or an uncontrollable • How It Works and unpredictable beast…" • The Birth of a Recorder "This book, like the late Barbara Woodhouse, will show you how to take your recorder on walkies in respectable society and still stand proud!" Chapter 2 - Basic Training • Keeping its coat shiny • Maintaining the inner pet – cleaning the bore. • Block Cleaning • Windway Cleaning • Block Replacement Chapter 3 - Advanced Training • Recorder Voicing • Looking and Seeing Chapter 4 - Really Major Surgery • The Windway • The Labium Chapter 5 - Tuning the bore and finger holes • DYI Tuning • Diagrams for note, finger and pitch influence, bore diameter and pitch. -
Recorders & More
Enjoy the recorder New Models Denner Alto Denner-Edition Alto 442/415 Denner-Line Alto 415 Denner Bass Cap Dream-Edition Recorders & more for beginners to professional players Recorders Accessories Recorder Clinic Recorder-World Museum, Seminars www.mollenhauer.com Useful information / Maintenance / Oiling Editorial Enjoy the Recorder Come on in … “Mollenhauer Recorders” is more than just a workshop. It is a lively meeting point for performers of every age, from hobby- ists to pros, from all around the world. Over the years, many thousands of recorder players have visited our workshops, our Recorder-World Museum and our seminars! Our journal, “Windkanal”, is a well-known and respected forum presenting the colourful world of the recorder in all its diversity. Our website is a valuable resource for information about the recor- der and is used by friends of the recorder the world over. Ours is an open workshop. We strive to bring you the fascinat- ing world of recorder making while at the same time entering into a dialogue with you – about our instruments, about ideas, about visions … Communication at a personal level is important to us. Part- nership and cooperation are central to how we operate ... not only within our own team: we welcome your questions! Since we see cooperation and innovation as being very closely related, we seek out and form partnerships with especially cre- ative people such as recorder makers Maarten Helder, Friedrich von Huene, Adriana Breukink, Nik Tarasov and Joachim Paetzold. Furthermore, we consider each and every recorder player, teacher and music dealer that shares with us their experiences and ideas – thus sharing in the further development of our instruments as well – to be our partners. -
Written on Skin
WRITTEN ON SKIN 10. NOVEMBER 2018 ELBPHILHARMONIE GROSSER SAAL Sa, 10. November 2018 | 20 Uhr | Elbphilharmonie Großer Saal Elbphilharmonie für Kenner 1 | 2. Konzert 19 Uhr | Einführungsgespräch mit Martin Crimp und Johannes Blum im Großen Saal MULTIVERSUM GEORGE BENJAMIN MAHLER CHAMBER ORCHESTRA GEORGIA JARMAN AGNÈS EVAN HUGHES PROTECTOR BEJUN MEHTA ANGEL 1 / THE BOY VICTORIA SIMMONDS ANGEL 2 / MARIE ROBERT MURRAY ANGEL 3 / JOHN MARTIN CRIMP TEXT BENJAMIN DAVIS REGIE DIRIGENT SIR GEORGE BENJAMIN George Benjamin Written on Skin (2012) Semiszenische Aufführung in englischer Sprache Keine Pause / Ende gegen 21:45 Uhr Gefördert durch die 7797 BMW 8er HH Elbphil 148x210 Programmheft 2018.indd 1 08.08.18 10:45 WILLKOMMEN Nicht vielen Neukompositionen ist es vergönnt, sogleich Teil des Kanons zu werden. George L U X Benjamin gelang das Kunststück mit seiner 2012 uraufgeführten Oper »Written on Skin«, die seit her gut hundertmal in aller Welt gespielt wurde. AETERNA Darin geht es um eine unglückliche Affäre, den EIN MUSIKFEST FÜR DIE SEELE Weg einer Frau zu sich selbst und ein »auf Haut geschriebenes« Buch, das seinem Schöpfer am DIE TANZENDEN DERWISCHE AUS DAMASKUS, Ende den Tod bringt. Zum Auftakt von George NDR ELBPHILHARMONIE ORCHESTER, INGO METZMACHER, ENSEMBLE RESONANZ, PEKKA KUUSISTO, HOURIA AÏCHI, Benjamins aktueller, groß angelegter Residenz IVETA APKALNA, ANNA LUCIA RICHTER, GEORG NIGL, an der Elbphilharmonie kommen neben dem DUO NAQSH, ROKIA TRAORÉ, CRAIG TABORN dirigierenden Komponisten selbst viele Mitwir kende der Uraufführung nach Hamburg, darun ter der Countertenor Bejun Mehta und das ful 3. 27. FEBRUAR 2019 ELBPHILHARMONIE, LAEISZHALLE, minante Mahler Chamber Orchestra. ST. KATHARINEN, PLANETARIUM, ST. -
Vocal Philologies: Written on Skin and the Troubadours
Vocal Philologies: Written on Skin and the Downloaded from https://academic.oup.com/oq/article/33/3-4/207/4801221 by University of California, Irvine user on 14 September 2020 Troubadours emma dillon king’s college london Parchment or slate were precious materials to the medieval scholar—or com- poser—and they were used repeatedly for successive sketching. Today, many cen- turies later, surviving manuscripts appear chaotic, with a surface complexity almost resembling organic growth, although their straight lines reveal they are man-made. In deciphering these mysterious objects one can unravel the sequence of layers and trace back to the initial text. —George Benjamin, program note to Palimpsests for Orchestra (1998À2002)1 Protector: What is it that you are looking at? Boy: Nothing, says the Boy, thumbing the knife. Protector: Thinking about? Boy: I’m thinking that when this wood and this light are cut through by eight lanes of poured concrete, I’m thinking that the two of us and everyone we love will have been dead for a thousand years. Protector: The future’s easy: tell me about now. —George Benjamin, Written on Skin, text for music by Martin Crimp (Part II, scene 9)2 Parchment is an unexpected vocal source to bring to a special issue on the voice in contemporary opera studies. In a field such as medieval studies, my more familiar scholarly habitat, parchment is the common currency of the voice: the ultimate proxy for vocal acts that are long since gone. Voice in the context of parchment is synonymous with the philological activity required to decipher information about song-acts as they were transmitted, reworked, and sometimes corrupted in the me- dium of ink, notation, and skin. -
Er"\-1\ Lucy Locket's Pet Snail, Hsparky" , ("Snail; Snail" and "Lucy Locket") 4 Measures (8 Beats) Introduction Traditional on Recording Arr
--------l"The History Of The Recorder The recorder is a whistle ..type woodwind instrument that is from an ancient family of instruments called the internaL duct flutes. For many centuries, it was the most popular woodwind instrument. It was being used as afolk instrument as early as the 12th century. During the 16th century, several composers were writing solo and ensemble music for the recorder. Two of these were Bach and Handel, probably the best known composers of the Baroque Era. The transverse (side ..blown) flute had replaced the recorder by the 18th century, because it had a much broader dynamic range than the recorder and could blend better with the larger, louder orchestras of the day. Recorders probably came to America with some of the first settlers. There are as many as 26 recorders listed in the inventories of various plantations in the 1600s. Around 1925, the recorder 'began to make a comeback in popularity because of a renewed interest in Renaissance and Baroque music. Today, more than 3.5 million plastic recorders I are manufactured per year. Recorders are .played in many elementary schools and can be a wonderful instrulnent:to learn on its own-or as an introductory band instrument. Many skills are learned from the playing of the recorder, such as fingering skills, embouchure development, breath support, articulation skills, and development of the inner ear. " . The five most common recorders are: sopranino (or.. descant), soprano, alto, tenor, and bass. The smallest is ~ the Garklein recorder, which is only four inches long. ) The largest recorder is called a sub..contra bass arid is about ten feet long. -
Hannigan Ascending BACH ST
PRICELESS! Vol 20 No 5 CONCERT LISTINGS | FEBRUARY 1 - MARCH 7 2015 Hannigan Ascending BACH ST. JOHN PASSION BACH ST. JOHN PASSION BACK BY POPULAR DEMAND! HOUSE OF DREAMS DIRECTED BY IVARS TAURINS Mar 19-22, 2015 Trinity-St. Paul’s Centre, Jeanne Lamon Hall DIRECTED BY Tafelmusik Baroque Orchestra JEANNE LAMON and Chamber Choir CONCEIVED, SCRIPTED, AND Julia Doyle, soprano PROGRAMMED BY Daniel Taylor, countertenor ALISON MACKAY Charles Daniels, tenor Peter Harvey, baritone Feb 11-15, 2015 Trinity-St. Paul’s Centre, Jeanne Lamon Hall “A testament to his faith, Bach’s Passions speak to us of the Journey to the meeting places of baroque art and music fea- turing music by , , , and more. greater human experience through music Bach Handel Vivaldi of powerful drama and profound beauty.” Don’t miss this stunning multimedia — IVARS TAURINS event before it goes on tour to Australia! A CO-PRODUCTION WITH Stage Direction by Marshall Pynkoski Production Design by Glenn Davidson Projection Design by Raha Javanfar 416.964.6337 Narrated by Blair Williams tafelmusik.org SEASON PRESENTING SPONSOR Baroque Orchestra and Chamber Choir SEASON PRESENTING SPONSOR The TSO and festival curator George Benjamin join forces with Canadian soprano Barbara Hannigan for new sounds, cutting-edge drama, and 7 premières! A Mind of Winter SAT, FEB 28 AT 8pm Peter Oundjian, conductor and host George Benjamin, conductor Barbara Hannigan, soprano Jonathan Crow, violin Dai Fujikura: Tocar y Luchar (CANADIAN PREMIÈRE) George Benjamin: A Mind of Winter (CANADIAN PREMIÈRE) Vivian Fung: Violin Concerto No. 2 “Of Snow and Ice”(WORLD PREMIÈRE/TSO COMMISSION) Dutilleux: Métaboles Pre-concert Performance, Intermission Chat, and Post-concert Party in the Lobby. -
T H E P Ro G
08-11 Skin_GP2 copy 7/30/15 2:46 PM Page 1 Tuesday Evening, August 11, 2015 at 7:30 Thursday Evening, August 13, 2015 at 7:30 m Saturday Afternoon, August 15, 2015 at 3:00 a r g o Written on Skin (U.S. stage premiere) r P Opera in Three Parts e Music by George Benjamin h Text by Martin Crimp T This performance is approximately one hour and 40 minutes long and will be performed without intermission. Presented in collaboration with the New York Philharmonic as part of the Lincoln Center–New York Philharmonic Opera Initiative (Program continued) Please make certain all your electronic devices are switched off. The Mostly Mozart Festival presentation of Written on Skin is made possible in part by major support from Sarah Billinghurst Solomon and Howard Solomon. These performances are made possible in part by the Josie Robertson Fund for Lincoln Cen ter. David H. Koch Theater 08-11 Skin_GP2 copy 7/30/15 2:46 PM Page 2 Mostly Mozart Festival The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center Used by arrangement with European American Music Distributors Company, U.S. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
NI5976 Book 1 Note
George Benjamin Born in 1960, George Benjamin began composing at the age of seven. In 1976 he entered the Paris Conservatoire to study with Messiaen, after which he worked with Alexander Goehr at George Benjamin King's College, Cambridge. When he was only 20 years old, Ringed by the Flat Horizon was played at the BBC Proms by the BBC Symphony Orchestra under Mark Elder. The London & Sinfonietta and Simon Rattle premiered At First Light two years later. Antara was commissioned Martin Crimp for the 10th anniversary of the Pompidou Centre in 1987 and Three Inventions was written for the 75th Salzburg Festival in 1995. The London Symphony Orchestra under Pierre Boulez premiered Palimpsests in 2002 to mark the opening of ‘By George’, a season-long portrait which included the first performance of Shadowlines by Pierre-Laurent Aimard. More recent celebrations of Benjamin’s work have taken place at the Southbank Centre in 2012 (as part of the UK’s Cultural Olympiad), at the Barbican in 2016 and at the Wigmore Hall in 2019. The last decade has also seen multi-concert retrospectives in San Francisco, Frankfurt, Turin, Milan, Aldeburgh, Toronto, Dortmund, New York and at the 2018 Holland Festival. Benjamin’s first operatic work Into the Little Hill, written with playwright Martin Crimp, was commissioned in 2006 by the Festival d'Automne in Paris. Their second collaboration, Written on Skin, premiered at the Aix-en-Provence festival in July 2012, has since been scheduled by over 20 international opera houses, winning as many international awards. Lessons in Love and Violence, a third collaboration with Martin Crimp, premiered at the Royal Opera House in 2018; both works were filmed by BBC television, and a related ’Imagine’ profile on Benjamin was broadcast on BBC1 in October 2018. -
An Exciting New Teaching Resource for Your Recorder Program!
An exciting new teaching resource for your recorder program! DOJO WARM-UPS & WORKOUTS Progressive Tools For Young Players by John Riggio & Paul Jennings If you use our acclaimed Recorder Karate recorder method or any of the other popular methods, progress can seem a bit slow moving from one tune to the next. So it’s great to have exercises and other teaching tools to improve the performance of the tune you are working on and to reinforce the concepts you are trying to teach as they learn each song. That’s why, drawing on their many years as writers and educators, John and Paul have created a collection of short, interesting warm-ups and technique builders that will make the journey through the notes and other musical challenges found in most methods an enjoyable one. This unique set of progressive warm-ups and workouts is designed to help you warm up for each tune in Recorder Karate and tunes from many other methods. Many work on the concepts each tune presents, while some exercises also work on basic problems of technique and musicianship your class will encounter as you move through the year. Each selection is fairly short and comes with an exciting, contemporary recorded accompaniment that will make your students want to play them over and over as they learn. The clever tunes help you reinforce the concepts you are teaching, adding spice and motivation to your first lessons for players who are learning to play a wind instrument. Each warm-up and workout comes with a reproducible part for your students and with special teaching notes on the concepts involved. -
Sunday 20Th June
PROGRAMME: SUNDAY 20 JUNE Joseph Middleton Director Jane Anthony Founder leedslieder1 @LeedsLieder @leedsliederfestival #LLF21 Welcome to The Leeds Lieder 2021 Festival Ten Festivals and a Pandemic! In 2004 a group of passionate, visionary song enthusiasts began programming recitals in Leeds and this venture has steadily grown to become the jam-packed season we now enjoy. With multiple artistic partners and thousands of individuals attending our events every year, Leeds Lieder is a true cultural success story. 2020 Ameling Elly was certainly a year of reacting nimbly and working in new paradigms. Middleton Joseph We turned Leeds Lieder into its own broadcaster and went digital. It has Director, Leeds Lieder Director, been extremely rewarding to connect with audiences all over the world Leeds Lieder President, throughout the past 12 months, and to support artists both internationally known and just starting out. The support of our Friends and the generosity shown by our audiences has meant that we have been able to continue our award-winning education programmes online, commission new works and provide valuable training for young artists. In 2021 we have invited more musicians than ever before to appear in our Festival and for the first time we look forward to being hosted by Leeds Town Hall. The art of the A message from Elly Ameling, song recital continues to be relevant and flourish in Yorkshire. Hon. President of Leeds Lieder As the finest Festival of art song in the North, we continue to provide a platform for international stars to rub shoulders with the next generation As long as I have been in joyful contact with Leeds Lieder, from 2005 until of emerging musicians.