Boston Symphony Orchestra Concert Programs, Season 116, 1996-1997, Subscription, Volume 01
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Mv'3 Modern Music Ensemble "Inverted Space"
l 0 M ptA cr OH7G Mv'3 1 '\rl\? SCHOOL OF MUSIC {...O (3 "" UNIVERSITY of WASHINGTON 2013-2014 non C lie.. c.. Ci#f 7{CN::;?? ~ presents Modern Music Ensemble "Inverted Space" Z-v 7:30PM / November®20 13 Floyd and DeloresJones Playhouse PROGRAM {MA)(S)SACRII.EGIOND'HORREUR (2004) ........ HEINZ HOLUGER (b. 1939) U.S. Premiere -:::;- ~ z- t;; . Piccolos Daria Binkowski, Colleen McElroy*, ElizabethJolly, Natalie Ham Joyce Lee, Mona Sangesland, Sabrina Bounds, Alex Hoelzen Tenor Drums Mel Voytovich, Deven Inch, Declan Sullivan, Marijke Keyser Z- OCTANDRE (1923) ..........1:.:~.:!:? ............... EDGARD VARESE (1883-1965) Colleen McElroy,jlute*; Bhavani Kotha, oboe; David Bissell, clarinet; Jamael Smith, bassoon; Trevor Cosby, hom; David Sloan, trumpet; Rebecca Musselwhite, trombone*; Kelsey Mines, double bass Dan McDonald, conductor 1. ~ "'2..:;' ::;, LEMARTEAUSANSMAI7RE (1953/1955) ........ PIERRE BOULEZ (b. 1925) II. Commentaire I de "bourreaux de solitude" (first commentary on "hangmen ofsolitude") III. "L'artisanatfurieux ll (lithe furious craftsmanship") IV. Commentaire IIde "bourreaux de solitude II (second commentary on "hangmen ofsolitude") VI. "Bourreaux de solitude II ("hangmen ofsolitude") Daria Binkowski,jlute; Luke Fitzpatrick, violin; JeffBowen, guitar; Mel Voytovich, vibraplwne; Deven Inch, xylorimba*; Chris Trirnis, percussion; Kristin Lindenmuth, soprano Yigit Kolat, Phillip Tschopp· , conductors L'artisanatforieux 'Theforious crqftsmanship La roulette rouge au bard du dou The red caravan on the edge ofthe Et cadaver dans Ie panier nail Et chevaux de labours dans Ie fer And corpse in the basket acheval And plowhorses in the horseshoe Je reve la tete sur la pointe' de man I dream the head on the point ofmy couteau Ie Perou. knife Peru. Bourreaux de solztude Hangmen ofsolitude Le pas s'est eloigne Ie marcheur The step has gone away, the walker s'est tu has fallen silent. -
SYMPHONY #1, “A S (1903-9) Ralph Vaughan Williams (1872-1958)
presents SYMPHONY #1, “A SEA SYMPHONY” (1903-9) Ralph Vaughan Williams (1872-1958) Performed by the UNIVERSITY SYMPHONY & COMBINED CHORUS Peter Erös, conductor 7:30 PM March 14, 2008 Meany Theater PROGRAM A Song for All Seas, All Ships On the Beach at night, Alone The Waves The Explorers A SEA SYMPHONY is a remarkably evocative piece of music by Ralph Vaughan Williams for a large choir, soprano and baritone soloists and orchestra. The text is from Walt Whitman’s collection “Leaves of Grass.” This is perfect for Vaughan Williams, encompassing everything from descrip– tions of ships at sea, daring explorers and innovators, introspection on the meaning of progress, the Second Coming, and a transcendent final voyage to the afterlife. Bertrand Russell introduced Vaughan Williams to the poet’s work while they were both undergraduates at Cambridge. The piece is a true choral symphony, where the choir leads the themes and drives the action, rather than merely intoning the words and pro– viding a bit of vocal color; it is more like an oratorio than a symphony. It is Vaughan Williams’ first symphonic work, and such was his lack of confidence in the area that he returned to study under Ravel in Paris for three months before he felt able to complete it. It was premiered in 1910 at the Leeds Festival. There are four movements: “A Song for all Seas, all Ships,” “On the Beach at night, Alone,” “The Waves,” and “The Explorers.” The first is an introduction, dealing with the sea, sailing ships and steamers, sailors and flags. -
Boston Symphony Orchestra Concert Programs, Season 116, 1996-1997
Boston SEIJI OZAWAMUSIC DIRECTOR SYMPHONY 1996-97 SEASON ORCHESTRA v - . j* i The security of a trust, FideUty service and expertise. A Clcudlc Composition A conductor and his orchestra — together, they perform masterpieces. Fidelity Now Fidelity Personal Trust Services can help you achieve the same Pergonal ** harmony for your trust portfolio of Trudt $400,000 or more. Service** You'll receive superior trust services through a dedicated trust officer, with the added benefit of Fidelity's renowned money management expertise. And because Fidelity is the largest privately owned financial services firm in the nation, you can rest assured that we will be there for the long term. Call ** Fidelity Pergonal Trudt Serviced at 1-800-854-2829. ,s>*%» You'll applaud our efforts. Trust Services offered by Fidelity Management Trust Company For more information, visit a Fidelity Investor Center near you: Boston - Back Bay • Boston - Financial District • Braintree, MA • Burlington, MA Fidelity wp& investments® 17598.001 This should not be considered an offer to provide trust services in every state. Trust services vary by state. To determine whether Fidelity may provide trust services in your state, please call Fidelity at 1-800-854-2829. Investor Centers are branches of Fidelity Brokerage Services, Inc. Member NYSE, SIPG. Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Sixteenth Season, 1996-97 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. Edith L. Dabney, Vice-Chairman Ray Stata, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Harlan E. -
MONTEVERDI's OPERA HEROES the Vocal Writing for Orpheus And
MONTEVERDI’S OPERA HEROES The Vocal Writing for Orpheus and Ulysses Gustavo Steiner Neves, M.M. Lecture Recital Dissertation Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Karl Dent Chair of Committee Quinn Patrick Ankrum, D.M.A. John S. Hollins, D.M.A. Mark Sheridan, Ph.D. Dean of the Graduate School May, 2017 © 2017 Gustavo Steiner Neves Texas Tech University, Gustavo Steiner Neves, May 2017 TABLE OF CONTENTS ABSTRACT iii LIST OF MUSICAL EXAMPLES iv LIST OF TABLES iv CHAPTER I: INTRODUCTION 1 Thesis Statement 3 Methodology 3 CHAPTER II: THE SECOND PRACTICE AND MONTEVERDI’S OPERAS 5 Mantua and La Favola d’Orfeo 7 Venice and Il Ritorno d’Ulisse in Patria 13 Connections Between Monteverdi’s Genres 17 CHAPTER III: THE VOICES OF ORPHEUS AND ULYSSES 21 The Singers of the Early Seventeenth Century 21 Pitch Considerations 27 Monteverdi in the Twentieth and Twenty-First Centuries 30 Historical Recordings and Performances 32 Voice Casting Considerations 35 CHAPTER IV: THE VOCAL WRITING FOR ORPHEUS AND ULYSSES 37 The Mistress of the Harmony 39 Tempo 45 Recitatives 47 Arias 50 Ornaments and Agility 51 Range and Tessitura 56 CHAPTER V: CONCLUSIONS 60 BIBLIOGRAPHY 63 ii Texas Tech University, Gustavo Steiner Neves, May 2017 ABSTRACT The operas of Monteverdi and his contemporaries helped shape music history. Of his three surviving operas, two of them have heroes assigned to the tenor voice in the title roles: L’Orfeo and Il Ritorno d’Ulisse in Patria. -
Music Theory Analysis Varese Octandre Combination Tones Halls
Precompositional Application of Combination Tones in Octandre by Edgard Varese by Glen Halls © All Rights Reserved Abstract The author presents a possible insight into the composition of Varesian pitch structures. The compositional application of combination tones is demonstrated for Octandre (1923). Specifically, it suggests that combination tones (occurring among the frequencies of a given sound-mass) are mapped as pitch materials in the continuing transformed sound mass, or used to create self-reinforcing sonorities. There are two major obstacles in the analysis of Varese's music. First of all, he destroyed most of his notes and early formative scores.1 Secondly, he was reluctant to discuss his compositional procedures in detail, at least publicly, preferring instead to speak with a kind of overblown rhetoric.Theorists therefore have been permitted a certain freedom of interpretation with respect to his music. Yet in general, Varese's music has proven resistant to specific empirical analysis. His music tends to be eclectic in design and one is unlikely to uncover an all-inclusive compositional system.2 A specific compostional method may be apparent, however, if one considers pitch structures in isolation. Throughout his career Varese advocated a closer relationship between music and science. With this in mind, is it not reasonable to speculate that Varese should try to structure his music in some way with respect to the known physics of sound? Given Varese's interest in acoustics, his dismissal of the twelve tone system,3 and his particular choice of terminology and rhetoric, combination tone mapping might be a solution to the enigmatic nature of Varesian pitch structures. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: July 31, 2005______ I, Colleen Richardson , hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Conducting, Wind Emphasis It is entitled: Edgard Varèse and the Visual Avant-Garde: A Comparative Study of Intégrales and Works of Art by Marcel Duchamp This work and its defense approved by: Chair: Rodney K. Winther____________ Kimberly Paice _______________ Terence G. Milligan____________ _____________________________ _______________________________ Edgard Varèse and the Visual Avant-Garde: A Comparative Study of Intégrales and Works of Art by Marcel Duchamp A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music 2005 by Colleen Richardson B.M., Brandon University, 1987 M.M., University of Calgary, 2001 Committee Chair: Rodney Winther ABSTRACT Edgard Varèse (1883–1965) had closer affiliations throughout his life with painters and poets than with composers, and his explanations or descriptions of his music resembled those of visual artists describing their own work. Avant-garde visual artists of this period were testing the dimensional limits of their arts by experimenting with perspective and concepts of space and time. In accordance with these artists, Varèse tested the dimensional limits of his music through experimentation with the concept of musical space and the projection of sounds into such space. Varèse composed Intégrales (1925) with these goals in mind after extended contact with artists from the Arensberg circle. Although more scholars are looking into Varèse’s artistic affiliations for insight into his compositional approach, to date my research has uncovered no detailed comparisons between specific visual works of art and the composer’s Intégrales. -
English Chamber Orchestra JEFFREY TATE Conductor
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN English Chamber Orchestra JEFFREY TATE Conductor FRANK PETER ZIMMERMANN, Violinist THEA KING, Clarinetist MONDAY EVENING, MARCH 7, 1988, AT 8:00 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Overture to The Marriage of Figaro ................................ MOZART Concerto No. 3 in G major for Violin and Orchestra, K. 216 ........ MOZART Allegro Adagio Rondo: allegro FRANK PETER ZIMMERMANN, Violinist INTERMISSION Mini-Concerto for Clarinet and Strings (1980) ................ GORDON JACOB Allegro Adagio Allegretto moderate Allegro vivace THEA KING, Clarinetist Symphony No. 101 in D major, "The Clock" ....................... HAYDN Adagio, presto Andante Menuetto: allegro Finale: vivace The University Musical Society expresses gratitude to Ford Motor Company Fund for its generosity in underwriting the printing costs of this house program. Cameras and recording devices are not allowed in the auditorium. Halls Cough Tablets, courtesy of Warner-Lambert Company, are available in the lobby. Thirty-third Concert of the 109th Season 109th Annual Choral Union Series PROGRAM NOTES Overture to The Maniave ofFivaro ............ WOLFGANG AMADEUS MOZART (1756-1791) Written in 1786, The Marriage ofFigaro is one of Mozart's greatest operas in the Italian style. It embodies Beaumarchais' bitter indictment of the tyranny, greed, and immorality of the nobility. After the sensational success of Beaumarchais' play in Paris in 1784, Mozart suggested to his librettist, Lorenzo da Ponte, the idea of making it into an opera. Already in the autumn of 1785, Mozart was at work on his music, composing with feverish haste, even as Da Ponte hurried to complete the libretto. "As fast as I wrote the words," Da Ponte recounts in his memoirs, "Mozart wrote the music, and it was all finished in six weeks." The overture, however, was composed last, completed only the day before the first performance. -
A PROPÓSITO DE OCTANDRE DE EDGAR VARÈSE Pablo Cetta
FACULTAD DE ARTES Y CIENCIAS MUSICALES CENTRO DE ESTUDIOS ELECTROACÚSTICOS A PROPÓSITO DE OCTANDRE DE EDGAR VARÈSE Pablo Cetta Edgard Varèse fue uno de los compositores pioneros en la ampliación de los recursos instrumentales. Sus exigencias se extienden a los usos dinámicos, a la precisión y variedad de las articulaciones, a la extensión de las tesituras, al uso de los registros extremos. En este artículo vamos a considerar algunas particularidades de su estilo a través del análisis de su obra Octandre. En el terreno de la dinámica, hallamos en su música requerimientos prácticamente imposibles, casi conceptuales. Tal es el caso del crescendo que ocurre al final del solo de oboe del primer movimiento, que parte de ff para llegar a ffff. O el comienzo del segundo movimiento, donde exige un matiz fff al piccolo sobre una nota de su primera octava. Por otra parte, producto de las combinaciones instrumentales, plantea conflictos en cuanto al equilibrio de las sonoridades, dado que el compositor tiende a escribir en dinámicas absolutas. Si solicita un cuádruple forte para un oboe y una trompeta, espera que ambos instrumentos suenen equilibrados, y esa tarea cabe al director del ensamble. Pero en la práctica, las modificaciones necesarias para lograr semejante equilibrio suelen comprometer la fuerza de los pasajes musicales. Respecto a las resultantes tímbricas que surgen de la articulación de los sonidos, su escritura es la que registra los primeros usos del frullato en oboe y los golpes de llave en la flauta. Las notas repetidas con diferentes articulaciones dan, por su parte, la sensación de un único sonido en constante transformación, con cambios dinámicos extremos que revelan la existencia de una fuerza contenida, a veces oprimida, que ejerce una enorme presión por liberarse. -
Ensemble Intercontemporain Matthias Pintscher, Music Director
Friday, November 6, 2015, 8pm Hertz Hall Ensemble intercontemporain Matthias Pintscher, Music Director PROGRAM Marco Stroppa (b. 1959) gla-dya. Études sur les rayonnements jumeaux (2006–2007) 1. Languido, lascivo (langoureux, lascif) 2. Vispo (guilleret) 3. Come una tenzone (comme un combat) 4. Lunare, umido (lunaire, humide) 5. Scottante (brûlant) Jens McManama, horn Jean-Christophe Vervoitte, horn Frank Bedrossian (b. 1971) We met as Sparks (2015) United States première Emmanuelle Ophèle, bass flute Alain Billard, contrabass clarinet Odile Auboin, viola Éric-Maria Couturier, cello 19 PROGRAM Beat Furrer (b. 1954) linea dell’orizzonte (2012) INTERMISSION Kurt Hentschläger (b. 1960)* Cluster.X (2015) Edmund Campion (b. 1957) United States première Kurt Hentschläger, electronic surround soundtrack and video Edmund Campion, instrumental score and live processing Jeff Lubow, software (CNMAT) * Audiovisual artist Kurt Hentschläger in collaboration with composer Edmund Campion. Ensemble intercontemporain’s U.S. tour is sponsored by the City of Paris and the French Institute. Additional support is provided by the FACE Foundation Contemporary Music Fund. This performance is made possible, in part, by Patron Sponsor Ross Armstrong, in memory of Jonas (Jay) Stern. Hamburg Steinway piano provided by Steinway & Sons of San Francisco. Cal Performances’ – season is sponsored by Wells Fargo. PLAYBILL ORCHESTRA ROSTER ENSEMBLE INTERCONTEMPORAIN Emmanuelle Ophèle flute, bass flute Didier Pateau oboe Philippe Grauvogel oboe Jérôme Comte clarinet Alain -
Building a Library
BUILDING A LIBRARY All selections were made from recordings available in the UK at the time of the broadcast and are full price unless otherwise stated. CD Review cannot guarantee that they have not subsequently been deleted. KEY: CD = compact disc c/w = coupled with SIS = a recording which is only available through EMI’s Special Import Service IMS = a recording which is only available through Universal Classics' Import Music Service CONTENTS September 1999 – July 2000 .................................................................................................................................................................................. 2 September 2000 – July 2001 ................................................................................................................................................................................ 23 September 2001 – July 2002 ................................................................................................................................................................................ 45 September 2002 – July 2003 ................................................................................................................................................................................ 73 September 2003 – July 2004 ................................................................................................................................................................................ 97 September 2004 – July 2005 ............................................................................................................................................................................. -
Tijana Ilišević* TELEOLOGICAL STRATEGIES in OCTANDRE BY
Ilišević, T., Teleological Strategies in Octandre by Edgard Varèse Article received on July 31st 2017 Article accepted on November 13th 2017 UDC: 788.087.3 Tijana Ilišević* Department of Music Theory Faculty of Music, Belgrade TELEOLOGICAL STRATEGIES IN OCTANDRE BY EDGARD VARÈSE Abstract: The objective of this work is the discovery and analysis of teleological strate- gies, i.e. the ways in which music which is not tonal-oriented finds points of orientation, how it is structured around them and directed towards them as formal supports. A mod- ernist composition Octandre by Edgar Varèse which is composed for seven wind instru- ments and double-bass will serve as an analytical sample. An important element of the composition is the use of sound masses as basic building units, whose expressive meaning is within the general character of the sound, and not in the concrete melodic content. Seemingly, the relevance of individual pitches is minimized, which could indicate the possible statics and absence of goal-oriented movement. However, the analysis has dis- covered an orientation towards certain goals, as well as the crucial importance of param- eters of pitches during the process of their realisation. By tracking these processes, as well as by analyzing the sets from which the sound masses of the work are built, it will be concluded that the analyzed work rests upon advisedly elaborated compositional strategies that make its course targeted. Key words: posttonal music, teleology, hromatic aggregates, sound masses, sets The projection of goals and goal-oriented movement can seem to be a hopeless task for a composer of post-tonal orientation. -
Boston Symphony Orchestra Concert Programs, Season 108, 1988-1989
'"'"• —— M« QUADRUM The Mall At Chestnut Hill 617-965-5555 Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Eighth Season, 1988-89 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman George H. Kidder, President J.P. Barger, Yice-Chairman Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Vernon R. Alden Mrs. Eugene B. Doggett Mrs. Robert B. Newman David B. Arnold, Jr. Mrs. John H. Fitzpatrick Peter C. Read Mrs. Norman L. Cahners Avram J. Goldberg Richard A. Smith James F. Cleary Mrs. John L. Grandin Ray Stata Julian Cohen Francis W. Hatch, Jr. William F. Thompson William M. Crozier, Jr. Harvey Chet Krentzman Nicholas T. Zervas Mrs. Michael H. Davis Mrs. August R. Meyer Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. Mrs. George R. Rowland Allen G. Barry Edward M. Kennedy Mrs. George Lee Sargent Leo L. Beranek Albert L. Nickerson Sidney Stoneman Mrs. John M. Bradley Thomas D. Perry, Jr. John Hoyt Stookey Abram T. Collier Irving W. Rabb John L. Thorndike Mrs. Harris Fahnestock Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood Michael G. McDonough, Director of Finance and Business Affairs Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Robert Bell, Data Processing Manager Marc Mandel, Publications Coordinator Helen P.