DOCSLIB.ORG

FOR IMMEDIATE RELEASE April 29, 2014 Contact: Katherine E

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FOR IMMEDIATE RELEASE April 29, 2014 Contact: Katherine E FOR IMMEDIATE RELEASE April 29, 2014 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ALAN GILBERT AND THE NEW YORK PHILHARMONIC CONTACT!, THE NEW YORK PHILHARMONIC’S NEW-MUSIC SERIES 2014–15 SEASON FIVE PROGRAMS FEATURING WORLD, U.S., AND NEW YORK PREMIERES Concerts Focusing on Music from ISRAEL, ITALY, NORDIC Countries, and JAPAN PROGRAM CURATED AND HOSTED BY JOHN ADAMS The Mary and James G. Wallach ARTIST-IN-RESIDENCE LISA BATIASHVILI To Be Featured Three Concerts at SUBCULTURE, Co-Presented with 92nd Street Y Two Concerts at THE METROPOLITAN MUSEUM OF ART CONTACT! on the EUROPE / SPRING 2015 Tour Entering its sixth season in 2014–15, CONTACT!, the Philharmonic’s new-music series, will include five programs featuring World, U.S., and New York Premieres, four of which explore the new-music scene from four different countries, and a fifth curated and hosted by composer John Adams. CONTACT! will return for three programs at SubCulture, co-presented with 92nd Street Y: a program featuring works by five composers selected by John Adams, who also hosts; a concert of works by Israeli composers, featuring The Mary and James G. Wallach Artist-in- Residence Lisa Batiashvili alongside Philharmonic musicians; and a performance of works by Italian composers. Two CONTACT! programs will take place at The Metropolitan Museum of Art with Met Museum Presents: a concert of works by Nordic composers conducted in part by Music Director Alan Gilbert; and a program featuring works from Japan, conducted by Jeffrey Milarsky. The Philharmonic will also perform highlights from the 2014–15 season of CONTACT! during its second International Associate Residency at London’s Barbican Centre as part of the EUROPE / SPRING 2015 tour. Further details to be announced at a later date. CONTACT!, established by Music Director Alan Gilbert in the 2009–10 season, highlights the works of both emerging and established contemporary composers, performed by smaller ensembles of Philharmonic musicians in intimate venues outside the Lincoln Center campus. Since its inception, CONTACT! has presented 20 World Premieres (as of the end of the 2013–14 season), including Matthias Pintscher’s songs from Solomon’s garden (2010), Sean Shepherd’s These Particular Circumstances (2010), and Carter’s Three Controversies and a Conversation (2012). (more) 2014–15 Season of CONTACT! / 2 Alan Gilbert said: “The work that composers do is the most important contribution to music at any given time. I have enormous admiration for composers, and I feel incredible gratitude that they are willing to struggle through the difficult process that is musical creation. One of the ways the Philharmonic can be a resource and an important catalyst for musical composition is to continue our very active commissioning program. I think it’s one of the greatest things we can do for music.” Christopher Rouse, who in 2014–15 will be completing his three-year term as The Marie-Josée Kravis Composer-in-Residence, advises the Philharmonic on the CONTACT! series. One of America’s most prominent composers of orchestral music, Mr. Rouse won the 1993 Pulitzer Prize in Music for his Trombone Concerto, commissioned and premiered by the New York Philharmonic. Christopher Rouse said: “I’m very pleased that CONTACT! will be taking a geographical bent next season with overviews of contemporary music in Scandinavia, Italy, Japan, and Israel. There are wonderful composers at work from all of these countries, and I hope that our CONTACT! programming will prove exciting to our listeners. In addition to this, John Adams will curate a CONTACT! program of music about which he is especially enthusiastic. All in all there will be a wealth of splendid new music for our audiences to encounter and enjoy.” CONTACT! HOSTED BY JOHN ADAMS Works by Daníel BJARNASON, Ingram MARHSALL, Missy MAZZOLI, and Timo ANDRES November 17, 2014, at SUBCULTURE, Co-Presented with 92nd Street Y The 2014–15 CONTACT! season opens with CONTACT! Hosted by John Adams, featuring five chamber works he has selected: Daníel Bjarnason’s Bow to String (2009; rev. 2012) and Five Possibilities for clarinet, cello, and piano (2014); Ingram Marshall’s Muddy Waters (2004); Missy Mazzoli’s Dissolve, O My Heart (2010); and the New York Premiere of Timo Andres’s Early to Rise (2013). This program, November 17, 2014, at SubCulture, is a co-presentation by the New York Philharmonic and 92nd Street Y. The first movement of Icelandic composer Daníel Bjarnason’s Bow to String refers to an art installation by the Icelandic performance artist Ragnar Kjartansson in which a small orchestra accompanies a performer repeatedly singing the lyrics “Sorrow conquers happiness.” Originally composed in 2009 for multi-layered cello, specifically for cellist Saeunn Thorsteinsdottir, this version of Bow to String is composed for solo cello, clarinet, horn, two pianos, string quartet, and double bass. Mr. Bjarnason writes that Five Possibilities, written for and premiered by Trio Ariadne in April 2014, is “in five short movements that each follows its own logic, creating fleeting images or glimpses of larger worlds.” He has composed works commissioned, premiered, or performed by ensembles including the Los Angeles Philharmonic, the Ulster Orchestra, and So Percussion, and they have been conducted (more) 2014–15 Season of CONTACT! / 3 by Gustavo Dudamel, James Conlon, and John Adams, among others. Daníel Bjarnason’s string arrangements can be heard on the 2013 Sigur Rós album Kveikur, and he contributed the score to the 2012 feature film The Deep. American composer Ingram Marshall based Muddy Waters (for an amplified chamber ensemble comprising marimba, piano, electric guitar, bass clarinet, cello, and contrabass), commissioned by Bang on a Can All-Stars, on a tune from the Bay Psalmbook of 1692, the first printed music in North America, titled Lichfield, itself based on Psalm 69: “The waters in unto my soul are come, oh God me save, I am in muddy deep sunk down where I no standing have.” Mr. Marshall writes: “In the course of the piece the psalm tune goes through various transformations.… The affect shifts, chiaroscuro like, from darkness and gloom to exuberance and sanguinity.” He notes that the conclusion shifts “away from the psalm tune to a reference to Muddy Waters (the blues singer), who has the last word.” Ingram Marshall’s influences have included Indonesian and electronic music. Since 1985 his primary focus has been on works for ensembles, both with and without electronics. He has been commissioned by the American Composers Orchestra, Magnum Opus, and Orpheus. American composer Missy Mazzoli composed Dissolve, O My Heart, commissioned by the Los Angeles Philharmonic, for violinist Jennifer Koh’s Bach & Beyond project, which combines Bach’s Sonatas and Partitas with newly commissioned works. Ms. Koh requested a piece based on Bach’s Partita in D minor. Ms. Mazzoli explains: “Dissolve, O My Heart begins with the first chord of Bach’s Chaconne, a now-iconic D minor chord, and spins out from there into an off- kilter series of chords that doubles back on itself, collapses, and ultimately dissolves in a torrent of fast passages.” Melding indie-rock sensibilities with formal training from Louis Andriessen, Martijn Padding, Richard Ayers, and others, Missy Mazzoli’s music has been performed by, among others, the Kronos Quartet, eighth blackbird, American Composers Orchestra, New York City Opera, the Minnesota Orchestra, the Detroit Symphony, NOW Ensemble, and cellist Maya Beiser. American composer Timo Andres writes that the ten-minute, four-movement string quartet Early to Rise is “the most recent in a series of Schumann-inspired pieces I’ve written; this time, the seed is a five-note accompanimental figure from his late piano cycle Gesänge der Frühe (Morning Songs). At first, Early to Rise uses this figure in a canon, gently cycling through harmonies while its rhythms rub against each other in expanding and contracting patterns.… In the final section, momentum builds in the opposite direction with a simple downward-drifting chorale, picking up speed until it reaches a frenetic conclusion.” Timo Andres’s recent commissions have come from the Los Angeles Philharmonic; Los Angeles Chamber Orchestra; a consortium including Carnegie Hall, Wigmore Hall, Amsterdam’s Royal Concertgebouw, and San Francisco Performances; and the Library of Congress, among others. Alex Ross wrote in The New Yorker that Mr. Andres’s 2010 album Shy and Mighty “achieves an unhurried grandeur that has rarely been felt in American music since John Adams came on the scene.” The Philharmonic has enjoyed an ongoing relationship with John Adams since 1983, when it performed the New York Premiere of his Grand Pianola Music. The Orchestra has since given the World Premieres of Easter Eve 1945 (2004, conducted by Mr. Adams) and On the (more) 2014–15 Season of CONTACT! / 4 Transmigration of Souls (2002), co-commissioned by the Philharmonic and Lincoln Center’s Great Performers series in memory of the victims of 9/11. The latter won the 2003 Pulitzer Prize in Music, and its recording on Nonesuch — featuring the Philharmonic led by Lorin Maazel with the New York Choral Artists and the Brooklyn Youth Chorus — received the 2005 Grammy Awards for Best Classical Album, Best Orchestral Performance, and Best Classical Contemporary Composition. Mr. Adams’s China Gates will be performed by pianist Marino Formenti, June 4, 2014, during the Philharmonic’s inaugural NY PHIL BIENNIAL. During the 2014–15 season (March 26–28, 2015), Alan Gilbert will conduct the Philharmonic and violinist Leila Josefowicz in the World Premiere of John Adams’s Scheherazade.2 — Symphony for violin and orchestra, a New York Philharmonic Co-Commission with the Royal Concertgebouw Orchestra Amsterdam; the Royal Concertgebouw; and the Sydney Symphony Orchestra, David Robertson, chief conductor and artistic director. NEW MUSIC FROM ISRAEL Featuring Violinist LISA BATIASHVILI, The Mary and James G.
Load more

Recommended publications
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. This is the other 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/17523/ 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] BRIGHT FUTURES, DARK PASTS Michael Finnissy at 70 Conference at City, University of London January 19th-20th 2017 Bright Futures, Dark Pasts Michael Finnissy at 70 After over twenty-five years sustained engagement with the music of Michael Finnissy, it is my great pleasure finally to be able to convene a conference on his work. This event should help to stimulate active dialogue between composers, performers and musicologists with an interest in Finnissy’s work, all from distinct perspectives. It is almost twenty years since the publication of Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998).
    [Show full text]
  • The Shaping of Time in Kaija Saariaho's Emilie
    THE SHAPING OF TIME IN KAIJA SAARIAHO’S ÉMILIE: A PERFORMER’S PERSPECTIVE Maria Mercedes Diaz Garcia A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS May 2020 Committee: Emily Freeman Brown, Advisor Brent E. Archer Graduate Faculty Representative Elaine J. Colprit Nora Engebretsen-Broman © 2020 Maria Mercedes Diaz Garcia All Rights Reserved iii ABSTRACT Emily Freeman Brown, Advisor This document examines the ways in which Kaija Saariaho uses texture and timbre to shape time in her 2008 opera, Émilie. Building on ideas about musical time as described by Jonathan Kramer in his book The Time of Music: New Meanings, New Temporalities, New Listening Strategies (1988), such as moment time, linear time, and multiply-directed time, I identify and explain how Saariaho creates linearity and non-linearity in Émilie and address issues about timbral tension/release that are used both structurally and ornamentally. I present a conceptual framework reflecting on my performance choices that can be applied in a general approach to non-tonal music performance. This paper intends to be an aid for performers, in particular conductors, when approaching contemporary compositions where composers use the polarity between tension and release to create the perception of goal-oriented flow in the music. iv To Adeli Sarasola and Denise Zephier, with gratitude. v ACKNOWLEDGMENTS I would like to thank the many individuals who supported me during my years at BGSU. First, thanks to Dr. Emily Freeman Brown for offering me so many invaluable opportunities to grow musically and for her detailed corrections of this dissertation.
    [Show full text]
  • ORLI SHAHAM LOS ANGELES DAVID ROBERTSON PHILHARMONIC JON KIMURA PARKER 1 Merican Composers Have Always Pushed Boundaries, As Americans Themselves Have a Pushed West
    AMERICAN GRACE Piano music from Steven Mackey | John Adams ORLI SHAHAM LOS ANGELES DAVID ROBERTSON PHILHARMONIC JON KIMURA PARKER 1 merican composers have always pushed boundaries, as Americans themselves have A pushed West. I feel strongly that John Adams and Steven Mackey are at the forefront of defining what it means to be an American pianist today. On a stunning summer’s day in 2007 in the inspiring Rocky Mountain valley of Aspen, I found myself as usual underground, in a windowless practice room. One of the magical things about Aspen is that the otherwise oppressive quality of such a room is transformed by the people who inhabit it. I was taking a practice break from Gershwin and Stravinsky, preparing for rehearsal with the orchestra, when Steve Mackey came off the stage from rehearsing his guitar concerto Tuck and Roll. I was seven months pregnant with my twin sons, and Steve and I immediately started to talk about both music and child-bearing, which his wife was soon to do as well. I relished our talk and was further enthralled by Steve’s sizzling guitar playing and magnetic compositional style. For the next months, I ravenously listened to his oeuvre, convincing me that he was the first composer I wanted to ask to write me a concerto. The process was amazing. Steve showed me bits now and again, listened to my recordings and live performances, asked about my hand size, even allowed me a say in the final dramatic turn of the piece. Every time a part of the score came my way, I was more excited to learn it and understand it.
    [Show full text]
  • The Fukushima Project for Child Composers: an Interview with Dai Fujikura at Muschildren'17
    ÍMPAR Online journal for artistic research in music Vol. 2, Nº 1, 2018 Music for and by children, p. 63-71 ISSN 2184-1993 The Fukushima project for child composers: An interview with Dai Fujikura at Muschildren’17: Sara Carvalho1, INET-md, Departamento de Comunicação e Arte, Universidade de Aveiro, Portugal Filipe Lopes CIPEM/INET-md, uniMAD; Escola Superior de Media Artes e Design do Instituto Politécnico do Porto, Portugal Aoife Hiney INET-md, Departamento de Comunicação e Arte, Universidade de Aveiro, Portugal Abstract: In November 2017, the international conference Musichildren’17, which took place at the Department of Communication and Art of the University of Aveiro (UA), organised by members of the University of Aveiro’s branch of the research centre INET-md (Instituto de Etnomusicologia – Centro de Estudos em Música e Dança), welcomed the Japanese composer and educator Dai Fujikura as a keynote speaker. Dai Fujikura was interviewed by Sara Carvalho and Filipe Lopes in relation to the project with which he is involved in Japan, namely a composition project for children in Fukushima, Japan. The following interview discusses Dai Fujikura’s own work as a composer and his experiences with the Fukushima project for child composers. Keywords: Dai Fujikura; composition; experimental music; music education; child composers Introduction In November 2017, the international conference Musichildren’17, which took place at the Department of Communication and Art of the University of Aveiro (UA) and was organised by members of the University of Aveiro’s branch of the research centre INET-md (Instituto de Etnomusicologia – Centro de Estudos em Música e Dança), welcomed the Japanese composer and educator Dai Fujikura as a keynote speaker.
    [Show full text]
  • Form in the Music of John Adams
    Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners.
    [Show full text]
  • September 2019 Catalogue Issue 41 Prices Valid Until Friday 25 October 2019 Unless Stated Otherwise
    September 2019 Catalogue Issue 41 Prices valid until Friday 25 October 2019 unless stated otherwise ‘The lover with the rose in his hand’ from Le Roman de la 0115 982 7500 Rose (French School, c.1480), used as the cover for The Orlando Consort’s new recording of music by Machaut, entitled ‘The single rose’ (Hyperion CDA 68277). [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, As summer gives way to autumn (for those of us in the northern hemisphere at least), the record labels start rolling out their big guns in the run-up to the festive season. This year is no exception, with some notable high-profile issues: the complete Tchaikovsky Project from the Czech Philharmonic under Semyon Bychkov, and Richard Strauss tone poems from Chailly in Lucerne (both on Decca); the Beethoven Piano Concertos from Jan Lisiecki, and Mozart Piano Trios from Barenboim (both on DG). The independent labels, too, have some particularly strong releases this month, with Chandos discs including Bartók's Bluebeard’s Castle from Edward Gardner in Bergen, and the keenly awaited second volume of British tone poems under Rumon Gamba. Meanwhile Hyperion bring out another volume (no.79!) of their Romantic Piano Concerto series, more Machaut from the wonderful Orlando Consort (see our cover picture), and Brahms songs from soprano Harriet Burns. Another Hyperion Brahms release features as our 'Disc of the Month': the Violin Sonatas in a superb new recording from star team Alina Ibragimova and Cédric Tiberghien (see below).
    [Show full text]
  • Concert Brian Lee, Piano Riverside Recital Hall 7:30 P.M
    U N I V E R S I T Y O F I O W A S C H O O L of M U S I C UPCOMING EVENTS TROMBONE CHOIR .........................................................................................March 11, 2015 at 7:30 p.m. Riverside Recital Hall FACULTY/GUEST ARTIST..............................................................................March 23, 2015 at 7:30 p.m. Daniel Shapiro and Uriel Tsachor, piano Riverside Recital Hall Center for New Music SYMPHONY ORCHESTRA ..............................................................................March 25, 2015 at 7:30 p.m. Dr. William LaRue Jones, conductor IMU Main Lounge GUEST ARTIST ...................................................................................................March 26, 2015 at 7:30 p.m. Concert Brian Lee, piano Riverside Recital Hall 7:30 p.m. Tuesday, March 10, 2015 GUEST ARTIST ...................................................................................................March 27, 2015 at 7:30 p.m. Frank Almond, violin Riverside Recital Hall Riverside Recital Hall GUEST ARTIST ...................................................................................................March 27, 2015 at 7:30 p.m. David Gompper David Werden, euphonium UCC Recital Hall Center for New Music director A LITTLE LUNCH MUSIC .............................................................................March 27, 2015 at 12:00 p.m. UCC Breakroom Season 49 Concert XII PERCUSSION SPECTACULAR .......................................................................March 29, 2015 at 3:00 p.m. Riverside
    [Show full text]
  • The Music Critics Association of North America Bestows Its Inaugural Award for Best New Opera to Breaking the Waves
    The Music Critics Association of North America bestows its inaugural Award for Best New Opera to Breaking the Waves The winner was chosen by an Awards Committee co-chaired by Heidi Waleson and George Loomis, and including Alex Ross, John Rockwell and Arthur Kaptainis Both composer Missy Mazzoli and librettist Royce Vavrek will be honored at the award presentation ceremony, to take place on July 19 during the MCANA Annual Meeting in Santa Fe June 20, 2017 - FOR IMMEDIATE RELEASE - The Music Critics Association of North America (MCANA) is pleased to announce that its inaugural Award for Best New Opera has been given to composer Missy Mazzoli and librettist Royce Vavrek for Breaking the Waves, which received its premiere on September 22, 2016 by Opera Philadelphia in conjunction with Beth Morrison Projects. The award was created to honor musical and theatrical excellence in a fully-staged opera that received its world premiere in North America during the preceding calendar year. The Award will be presented to the winners on July 19 during the opening of the MCANA Annual Meeting in Santa Fe, NM. Mazzoli and Vavrek will be also be profiled in MCANA’s web publication Classical Voice North America. The other finalists were Fellow Travelers, by composer Gregory Spears and librettist Greg Pierce, and Anatomy Theater by composer David Lang and librettist Mark Dion. After soliciting nominations from MCANA members, the finalists were chosen by an Awards Committee co-chaired by MCANA members Heidi Waleson, opera critic of The Wall Street Journal, and George Loomis, longtime contributor to the Financial Times and Musical America, alongside committee members Arthur Kaptainis, who writes for the Montreal Gazette and Musical Toronto, representing Canada; John Rockwell, former critic and arts editor of The New York Times and co-New York correspondent of Opera (UK); and Alex Ross, music critic of The New Yorker.
    [Show full text]
  • Hiroya Miura
    CURRICULUM VITAE HIROYA MIURA Department of Music 30 Preble Street, #253 Bates College Portland, ME 04101 75 Russell Street Mobile Phone: (917) 488-4085 Lewiston, ME 04240 [email protected] http://www.myspace.com/hiroyamusic EDUCATION 2007 D.M.A. (Doctor of Musical Arts) in Composition Graduate School of Arts and Sciences Columbia University, New York, NY Advisor: Professor Fred Lerdahl Dissertation: Cut for Satsuma Biwa and Chamber Orchestra 2001 M.A. in Composition Graduate School of Arts and Sciences Columbia University, New York, NY 1998 B.Mus. in Composition (Honors with Distinction) Faculty of Music McGill University, Montréal, QC 1995 D.E.C. (Diplôme d’études collégiales) in Pure and Applied Sciences Marianopolis College, Montréal, QC TEACHING EXPERIENCE 2005-Present Bates College Assistant Professor of Music Conductor of College Orchestra Courses Taught: Music Theory I, Music Theory III and IV, Music Composition, Music and Cinema, Introduction to Listening, Orchestration, Undergraduate Theses in Composition 1999-2005 Columbia University Teaching Fellow (2002-2005), Assistant Conductor of University Orchestra (1999-2002) Courses Taught: Introductory Ear Training (Instructor), Chromatic Harmony and Advanced Composition (Teaching Assistant) Hiroya Miura Curriculum Vitae CONDUCTING / PERFORMANCE EXPERIENCE Calling ---Opera of Forgiveness---* Principal Conductor Electronic Quartet with Jorge Sad, Santiago Diez, and Matias Giuliani at CCMOCA* No-Input Mixer performer Bates College Orchestra Music Director/ Principal Conductor Columbia
    [Show full text]
  • Playing It Unsafe ABOUT PLAYING IT UNSAFE Anna Clyne: Tender Hooks
    american composers orchestra world premiere recording Clyne • Dawe McGowan Mason • Trueman Playing It UNsafe ABOUT PLAYING IT UNSAFE Anna Clyne: Tender Hooks “Tender Hooks” is an experimental work cre- Playing It UNsafe, is the first professional ated by collaborators Anna Clyne, Jeremy research and development lab to support Flower and Joshue Ott. The work stretches the the creation of cutting-edge new American orchestra by means of live electronics and live orchestral music. Through no-holds-barred visuals, creating a synergistic audio and visual experimentation, it encourages composers experience. to do anything but “play it safe.” “Tender Hooks” features technologies and Anna Clyne, Jonathan Dawe, Ned McGowan, instruments created and developed by the Charles Norman Mason, and Dan Trueman, laptop-artists themselves. Flower performs were selected from a national search for with digital source sounds, custom-made their willingness to experiment and stretch instruments, and the orchestra as a source for their own musical sensibilities, and their live processing. Ott performs with his super- ability to test the limits of the orchestra. Draw software, created for live visual expres- Playing It UNsafe grew out of American sion. For this live recording, Ott and Flower Composers Orchestra’s (ACO) ongoing mis- linked their computers to transmit live data sion to commission and perform new music and to receive live data from the orchestra. that expands the range of possibilities for – Clyne’s score is specifically composed for these ACO Music Director George Manahan says, and challenges conventional notions about two solo artists with orchestra – each element “Orchestra commissions are usually about – orchestral music.
    [Show full text]
  • Regen-Kanon" (Sphären, IV)
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2011 Sound image and organic form in Höller's "Regen-Kanon" (Sphären, IV). Adriana Guzman 1977- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Guzman, Adriana 1977-, "Sound image and organic form in Höller's "Regen-Kanon" (Sphären, IV)." (2011). Electronic Theses and Dissertations. Paper 551. https://doi.org/10.18297/etd/551 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. SOUND IMAGE AND ORGANIC FORM IN HOLLER'S "REGEN-KANON" (SPHAREN, IV) By Adriana Guzman B.S., Pontificia Universidad Javeriana, 2003 A Thesis Submitted to the Faculty of the School of Music of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Music Division of Music Theory and Composition School of Music University of Louisville Louisville, Kentucky May 2011 Copyright 2011 by Adriana Guzman All rights reserved SOUND IMAGE AND ORGANIC FORM IN HOLLER'S "REGEN-KANON" (SPHAREN, IV) By Adriana Guzman B.S., Pontificia Universidad Javeriana, 2003 A Thesis Approved on April 21, 2011 By the following Thesis Committee: Thesis (rl)irector ii DEDICATION This thesis is dedicated to my parents Maria Doris Umana And Hernan Guzman PIes ted Who have given me invaluable support and love.
    [Show full text]
  • Florida State University Libraries
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School Bandsembles and Bandsembling: The HErini sRotsoe Hreyidr iacknd the Experience Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BANDSEMBLES AND BANDSEMBLING: THE HISTORY AND THE EXPERIENCE By ERIN ROSE HEIDRICK A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2020 Erin Rose Heidrick defended this treatise on April 2, 2020. The members of the supervisory committee were: Shannon Thomas Professor Directing Treatise Evan A. Jones University Representative Gregory Sauer Committee Member Corinne Stillwell Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS My personal journey with bandsembling has involved the support of many different people from various eras of my life. First, I would like to thank my family and friends, especially Charlotte Rose, John Heidrick, and Price Sukhia for their relentless support and love. Thank you for listening to me voice my unconventional ideas for so many months with nothing except openness and enthusiasm. You believed in my potential and encouraged me during life’s more difficult moments, and I only hope I can do the same for you when you need encouragement from me. I want to also thank the contributors of the Indiegogo campaign and my followers on social media platforms. Thank you for supporting me in this endeavor and having a role in the creation of a new piece for bandsemble.
    [Show full text]