DOCSLIB.ORG

UCSD's Emerging Voices Festival Presents the Paul Dresher Ensemble on Feb.24

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UCSD's Emerging Voices Festival Presents the Paul Dresher Ensemble on Feb.24 UCSD's Emerging Voices Festival presents the Paul Dresher Ensemble on Feb.24 February 6, 1995 Contact: Ruth Baily, University Events Office, 534-4090 or Alixandra Williams, 534-0361 The Paul Dresher Ensemble, known for its work in innovative music theatre, will perform its new presentation "Looking West to the East," at 8 p.m. Friday, Feb. 24, in the Mandeville Auditorium at the University of California, San Diego. Tickets for the event are $16 general admission, $14 seniors and $12 students, and may be purchased at the UCSD Price Center Box Office and from TicketMaster outlets. The Paul Dresher Ensemble's performance is co-presented by the University Events Office and the UCSD Department of Music for its Emerging Voices Festival. The festival celebrates the music of composers and performers who are striving for "self-definition in an exponentially diversifying culture." New works will be performed by UCSD musicians and by guest ensembles throughout the festival, which takes place at UCSD from Feb. 22-March 1. "Looking West to the East" features new works by renowned contemporary composers Bun-Ching Lam, Carl Stone, John Adams, Jay Cloidt, John Luther Adams, and Paul Dresher. The performance will feature the Electro-Acoustic Band, a group of musicians whom Dresher has selected for their diverse musical skills. Their ability to perform a range of music from classics to improvisation to rock and roll, Dresher says, is "key to the understanding and effective performance of a wide range of work written by contemporary composers." The Electro-Acoustic Band includes musicians Phil Aaberg (keyboard), Gene Reffkin (electronic percussion), Amy Knoles (electronic percussion), Paul Hanson (winds), Craig Fry (violin), Jay Cloidt (keyboard, sound engineer), and Paul Dresher (guitar, keyboard, and lighting). The program will be selected from the following repertory: Paul Dresher: "Channels Passing," for violin, clarinet, two electronic percussion instruments, and two electronic keyboard instruments; John Adams: "Disappointment Lake," originally composed for computer and electronics, and arranged for live performance by Paul Dresher; Paul Dresher: "Double Ikat," for violin, piano and percussion; Carl Stone: "Ruen Pair," for violin, clarinet, two keyboards, electronic marimba, and electronic drums; Bun-Ching Lam: "Qin 2000," for violin, bassoon, electronic mallets and drums, piano/electronic keyboard and electric guitar; John Luther Adams: "Coyote Builds North America," for two percussionists and live computer; Paul Hanson: "Inner Openings," for bassoon and live electronics; Paul Dresher: "Din Iniquity," for violin, bassoon, keyboard, electronic percussion, electronic drums and electric guitar; and Jay Cloidt: "Kole Kat Krush," for violin, bassoon, percussion and two keyboards. Composer Bun-Ching Lam will take part in the UCSD Department of Music Emerging Voices Festival. She was born in Macau in 1954, and received her early musical training as a pianist. She received her Ph.D. in Music at UCSD. Her teachers include Bernard Rands, Roger Reynolds, Robert Erickson, Pauline Oliveros, David Gwilt and Barney Childs. She has received numerous prizes, including a National Endowment for the Arts Award and the Lili Boulanger Award. She has received numerous commissions for new work, including the New York Bang on a Can Festival All-Stars and the Arditti Quartet, both of which will appear in the UCSD Emerging Voices Festival. Paul Dresher is a composer who pursues his musical interests in many media, including experimental opera and music theater; chamber and orchestral composition; live electronic instrumental performance; and the composition and recording of electroacoustic taped scores for theater, dance, video, radio and film. Dresher's recent commissions have included works for the Saint Paul Chamber Orchestra; the San Francisco Symphony, and the American Music Theater Festival. He has collaborated with directors Robert Woodruff, George Coates, Richard E.T. White, and Tom O'Horgan; moreover, Dresher has performed in concert and at music festivals worldwide. Dresher was born in Los Angeles in 1951. He received his B.A. in Music from U.C. Berkeley in 1977, and his M.A. in Composition from UCSD in 1979. For more information call UEO at 534-4090, or the UCSD Department of Music at 534-4830. (February 6, 1995).
Load more

Recommended publications
  • From the Artistic Director
    From the Artistic Director It’s springtime. Or at least it is in Southern California, where I am writing these words. With desert flowers in the offing and blooming jacaranda not far behind, our attention turns to things that grow. Or, in the case of this concert, to things that change. On the surface tonight’s concert looks like a crazy quilt of divergences, but dig a little deeper and you’ll note that everything grows from a common ground. All of these pieces started from a remarkably similar impulse, but each has grown in its own way. To torture the metaphor a bit more, from the same soil will grow fantastically varied flowers. Tonight we present five composers. Each is rooted in a particular branch of the American experimentalist tradition. Each was an accomplished performer before becoming a composer. And for each, the elaboration of a known tradition has been guided by forces external to that tradition. Those external forces are what Robertson Davies has referred to as the “Fifth Business:” they are catalysts designed to destabilize an otherwise balanced system. Without such a force nothing can change; with it everything does. Take Paul Dresher for example. Paul has been a central figure in the Bay Area music scene since he relocated here after his studies at the University of California, San Diego, where he worked with Robert Erickson. The Erickson philosophy, with no small influence from Harry Partch, Lou Harrison and musical visionaries from African and Asian traditions, led Dresher along a path of musical invention and instrument fabrication that has made him an iconic and profoundly influential West Coast composer.
    [Show full text]
  • Berkeleysymphonyprogram2016
    Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now able to provide all funeral, cremation and celebratory services for our families and our community at our 223 acre historic location. For our families and friends, the single site combination of services makes the difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service at our single location. We are also pleased to announce plans to open our new chapel and reception facility – the Water Pavilion in 2018. Situated between a landscaped garden and an expansive reflection pond, the Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details. The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony, lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements. For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org. Berkeley Symphony 2016/17 Season 5 Message from the Music Director 7 Message from the Board President 9 Message from the Executive Director 11 Board of Directors & Advisory Council 12 Orchestra 14 Season Sponsors 18 Berkeley Symphony Legacy Society 21 Program 25 Program Notes 39 Music Director: Joana Carneiro 43 Artists’ Biographies 51 Berkeley Symphony 55 Music in the Schools 57 2016/17 Membership Benefits 59 Annual Membership Support 66 Broadcast Dates Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of 69 Contact Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services.
    [Show full text]
  • A Festival of Unexpected New Music February 28March 1St, 2014 Sfjazz Center
    SFJAZZ CENTER SFJAZZ MINDS OTHER OTHER 19 MARCH 1ST, 2014 1ST, MARCH A FESTIVAL FEBRUARY 28 FEBRUARY OF UNEXPECTED NEW MUSIC Find Left of the Dial in print or online at sfbg.com WELCOME A FESTIVAL OF UNEXPECTED TO OTHER MINDS 19 NEW MUSIC The 19th Other Minds Festival is 2 Message from the Executive & Artistic Director presented by Other Minds in association 4 Exhibition & Silent Auction with the Djerassi Resident Artists Program and SFJazz Center 11 Opening Night Gala 13 Concert 1 All festival concerts take place in Robert N. Miner Auditorium in the new SFJAZZ Center. 14 Concert 1 Program Notes Congratulations to Randall Kline and SFJAZZ 17 Concert 2 on the successful launch of their new home 19 Concert 2 Program Notes venue. This year, for the fi rst time, the Other Minds Festival focuses exclusively on compos- 20 Other Minds 18 Performers ers from Northern California. 26 Other Minds 18 Composers 35 About Other Minds 36 Festival Supporters 40 About The Festival This booklet © 2014 Other Minds. All rights reserved. Thanks to Adah Bakalinsky for underwriting the printing of our OM 19 program booklet. MESSAGE FROM THE ARTISTIC DIRECTOR WELCOME TO OTHER MINDS 19 Ever since the dawn of “modern music” in the U.S., the San Francisco Bay Area has been a leading force in exploring new territory. In 1914 it was Henry Cowell leading the way with his tone clusters and strumming directly on the strings of the concert grand, then his students Lou Harrison and John Cage in the 30s with their percussion revolution, and the protégés of Robert Erickson in the Fifties with their focus on graphic scores and improvisation, and the SF Tape Music Center’s live electronic pioneers Subotnick, Oliveros, Sender, and others in the Sixties, alongside Terry Riley, Steve Reich and La Monte Young and their new minimalism.
    [Show full text]
  • Charles Shere Papers
    Charles Shere Papers Series 1: Career Scope and Contents: Series consists of early encouragements, résumés, grant applications and projects relating to Duchamp’s Bride, including programs, publicity and press reviews relating to performances of Shere’s works, of his speaking engagements, some scripts and reviews, together forming an overview of his many activities found in more specific form elsewhere in the archive. Box Folder Contents Date 1 1 Letter of recommendation by William D. Darrow to Prof. Cushing Dec. 19, 1977 1 2 “Art Scene” 1954 1 3 “Charles Schere. A Berkeley Humanist and his Collection.” Exhibition and concert. 1960s-1970s & 1 4 Chez Panisse. Jerry Budrick; others 1987undated 1 5 “Culture Gulch” 1980 & 1990s 1 6 Duchamp, “Bride.” Correspondence (including Mme. Duchamp) 1971, undated 1 7 Duchamp, “Bride.” Duchamp Exhibit late 1970s-1980s 1 8 Duchamp, “Bride.” Fundraising. 1980s 1 9 Duchamp, “Bride.” Margaret Fisher performannce. Applications for N.E.A. grant with 1984, undated résumés (Margaret Fisher, Robert Hughes, Sarah Skillman Lutman) 1 10 Festival of Contemporary Music, Mills College (including pats of the “Bride”) 1980s 1 11 Festtval [of local music including Shere’s] 1971 1 12 Grantts. N.E.A. Art Greant correspondence 1975 & 1981 1 13 Grants. N.E.A. Grant. Bride [granted] 1977 1 14 Grants. N.E.A. Grant. Bride. Backup. Chamber music compositions 1977-1978 1 15 Grants. N.E.A. Grant. Documentation. Résumés, C.V.s, chronologies to 1978 1 16 Grants. Dead to 1978 1 17 Grants. Pending 1980s 1 18 Grants. Rejects 1980s 1 19 Grants. Successful 1970s-1980s 1 20 Handler of Gravity (organ and percussion) 1980s 1 21 Performances of Dad’s [?] music, with press mentions of it 1982, undated, re.
    [Show full text]
  • The Commissioned Works of the National Flute Association For
    THE COMMISSIONED WORKS OF THE NATIONAL FLUTE ASSOCIATION FOR THE YOUNG ARTIST AND HIGH SCHOOL SOLOIST COMPETITIONS DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Kimberlee Goodman, M.M. ***** The Ohio State University 2007 Document Committee: Approved by Professor Katherine Borst Jones, Adviser Dr. Robert Ward _____________________________ Dr. Susan Powell Adviser Music Graduate Program ABSTRACT The National Flute Association, an organization of professionals, amateurs, teachers, performers, and students has been active in the commissioning of new music for some of its competitions since 1986. The organization is responsible for more than forty new works for the Young Artist and High School Soloist competitions alone. The commissioning process has changed vastly over the years that the organization has been in existence. The National Flute Association commissions composers from all over the world to write pieces for two of its competitions; the Young Artist Competition has been commissioning works since 1986, and the High School Soloist Competition began commissioning new works in 1989. Additionally, the importance of the National Flute Association has led to many world premiere performances and individuals commissioning works to be premiered at the annual conventions. The purpose of this document is to highlight the competition commissioned works of this organization and its continuing commitment to presenting and championing new music. The National Flute Association has established itself as a leading organization in creating new works, and these commissioned pieces now represent a major body of work and a substantial portion of the newly composed repertoire for flute.
    [Show full text]
  • Paul Dresher
    1(_,A SndRZONN7F,' 28 septembre 1 décembre 1979 billfeattaa Mus,*2que/Art/Danse 12ET13OCTOBRE PAUL DRESHER THIS SAME TEMPLE, MUSIQUE ELASTIQUE pour deux pianos: KATIA ET MARIELLE LABEQUE, PIANOS entr'acte LIQUID AND STELLAR pour guitare électrique. et système électronique controlé en direct lère-partie: SURF MUSIC 2ème partie: DANCE MUSIC PAUL DRESHER, GUITARE Paul Dresher est né en 1951 à Los Angeles. Ses premières études musicales ont été consacrées à la flûteet au piano. En 1966, il s'est mis à la guitare, jouant dans le style 'populaire'comme dans le style 'sérieux'. Il a fait partie de groupes de rock and roll et de jazz, eta écrit de la musique pour le théâtre. Il a collaboré avec Tom Constanten pour le spectacle de mime "Tarot", produit par le Chelsea Theater Center à la Brooklyn Academy of Music, et enregistré par la suite par United Artist5. Il s'intéresse très sérieusement depuis dix ans à la musique extra-occidentale. Ila étudié la musique classique de l'Inde du Nord, le sitaravec Nikhil Banerjee, la percussion africaine, et la musique Javanaise. De plus, il a étudié et travailléien étroite collaboration avec Lou Harrison, la tonalité, ainsique des projets de fabrication d'instruments. Il habite depuis neuf ans dans la région de San Francisco, où il a fait partie de plusieurs ensembles de musiquenou- velle et où il anime une émission de radio sur la musique contemporaine et ethnique, pour KPFA. Il a étudié avec Terry Riley à Mills College, et avec Steve Reich au Center for World Music. Il a étudié également à Berkeley en 1977, puis à San Diego avec Pauline Oliveros, Roger Reynolds, Robert Erickson.
    [Show full text]
  • Leonard Rosenman's Music for Films and the Concert Hall
    21ST CENTURY MUSIC MAY 2000 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $84.00 (print) and $42.00 (e-mail) per year; subscribers to the print version elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $8.00 (print) and $4.00 (e-mail) Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. Typeset in Times New Roman. Copyright 2000 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy.
    [Show full text]
  • LINER NOTES  Recorded Anthology of American Music, Inc
    A Bird’s Eye, a Wonderer’s Ear Most music, even the most cutting edge and willfully experimental, arrives before us with fairly preconceived parameters and conditions under which we should best appreciate it. We come to it knowing the proper set of aesthetic values and attitudes required in the mental dress code. The best means by which to find your way into Eve Beglarian’s music is to arrive naked to the party, more or less free of expectation. Expect only a musical head trip according to Beglarian’s creative world view. That view involves manipulation of texts from wildly diverse sources, and the kind of cultural hunger and curiosity of one who studied and rejected the twelve-tone orthodoxy of old and found in the “outside world”—the world(s) of dance, sampling, ensemble-specific chamber music, reinvented text-setting notions, etcetera—a dizzying playground of possibilities. Much has been made of the expanded palette of new-music thinking in the twenty-first century—a status of either emancipation from confining dogma or a rootlessness for a socio-cultural epoch in flux, depending on whom you talk to (or listen to). Beglarian has been surfing for inspirations and fundamental materials for many years, and has now reached the point where the surfing itself, the endless searching, researching, and remolding, is integral to the process and result of her work. Tell the Birds is Beglarian’s latest sampler plate of ideas, a set of pieces both cohesive and pleasingly eclectic. It is the latest field report from the uncharted adventure of Beglarian’s musical life.
    [Show full text]
  • Paul Dresher Ensemble Electro-Acoustic Band with Amy X Neuburg
    Friday, December 5, 2014, 8pm Saturday, December 6, 2014, 8pm Zellerbach Playhouse Paul Dresher Ensemble Electro-Acoustic Band with Amy X Neuburg They Will Have Been So Beautiful: Songs and Images of Now (World Première ) PROGRAM Pamela Z 17 Reasons Why (2014) Text by Pamela Z Photograph by Donald Swearingen Lisa Bielawa Ego Sum (2014) Text overheard in transient public spaces Photographs by Ourit Ben-Haim Conrad Cummings At the Window (2014) Text and photo by Conrad Cummings Paul Dresher A Picture Screen Stands in Solitude (2014) Text by Michael Nelson, with special thanks to Nigel Poor Photographs: Richard Misrach, Drive-In Theater, Las Vegas, 1987 Hiroshi Sugimoto, La Paloma, Encinitas, 1993 Jay Cloidt What Is Missing? (2014) Text by Melody Sumner Carnahan Please see program notes for full photo credits INTERMISSION CAL PERFORMANCES PROGRAM Fred Frith If I Could (2014) Text by Leila Attatoi Photograph by Heike Liss Guillermo Galindo Blood Bolero (2014) Text by Juvenal Acosta, based on photographs by Maya Goded Carla Kihlstedt Gathering Storm (2014) Text and photograph by Carla Kihlstedt Ken Ueno Secret Meridian (2014) Text and photograph by Ken Ueno Amy X Neuburg Is It Conflict-Free and Were Any Animals Harmed in the Making of It? (2014) 1. Brownies 2. English bobby toilet paper holder 3. Fourth day of wimpy non-period period 4. Mountain Text and photographs by Amy X Neuburg THE ELECTRO -ACOUSTIC BAND Jeff Anderle clarinet, bass clarinet Joel Davel Marimba Lumina, audio programming Paul Dresher electric guitar, electric bass Marja Mutru keyboard Karen Bentley Pollick violin, viola Gene Reffkin electronic drums John Schott electric guitar Brendan Aanes sound engineer The Norman Conquest sound recorder Mark Palmer video engineer SPECIAL GUEST ARTIST Amy X Neuburg voice, electronics Cal Performances’ – season is sponsored by Wells Fargo.
    [Show full text]