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POWDER-HER-FACE.Pdf
3 La Fenice prima dell’Opera 2012 3 2012 Fondazione Stagione 2012 Teatro La Fenice di Venezia Lirica e Balletto Thomas Adès Powder ace her f ace er InciprialeF h il viso owder owder p dès a homas t FONDAZIONE TEATRO LA FENICE DI VENEZIA TEATRO LA FENICE - pagina ufficiale seguici su facebook e twitter follow us on facebook and twitter FONDAZIONE TEATRO LA FENICE DI VENEZIA Destinare il cinque per mille alla cultura è facile e non costa nulla. Quando compili la tua dichiarazione dei redditi, indica il codice fiscale della Fondazione Teatro La Fenice di Venezia: 00187480272 Aiuti la cultura, aiuti la musica. Incontro con l’opera FONDAZIONE lunedì 16 gennaio 2012 ore 18.00 AMICI DELLA FENICE SANDRO CAPPELLETTO, MARIO MESSINIS, DINO VILLATICO STAGIONE 2012 Lou Salomé sabato 4 febbraio 2012 ore 18.00 MICHELE DALL’ONGARO L’inganno felice mercoledì 8 febbraio 2012 ore 18.00 LUCA MOSCA Così fan tutte martedì 6 marzo 2012 ore 18.00 LUCA DE FUSCO, GIANNI GARRERA L’opera da tre soldi martedì 17 aprile 2012 ore 18.00 LORENZO ARRUGA La sonnambula lunedì 23 aprile 2012 ore 18.00 PIER LUIGI PIZZI, PHILIP WALSH Powder Her Face giovedì 10 maggio 2012 ore 18.00 RICCARDO RISALITI La bohème lunedì 18 giugno 2012 ore 18.00 GUIDO ZACCAGNINI Carmen giovedì 5 luglio 2012 ore 18.00 MICHELE SUOZZO L’elisir d’amore giovedì 13 settembre 2012 ore 18.00 MASSIMO CONTIERO Clavicembalo francese a due manuali copia dello Rigoletto strumento di Goermans-Taskin, costruito attorno sabato 6 ottobre 2012 ore 18.00 alla metà del XVIII secolo (originale presso la Russell PHILIP GOSSETT Collection di Edimburgo). -
THOMAS ADÈS Works for Solo Piano
THOMAS ADÈS Works for Solo Piano Han Chen Thomas Adès (b. 1971) Works for Solo Piano Composer, conductor and pianist Thomas Adès has been sexual exploits scandalised Britain in the 1960s. Adès’s A set of five variants on the Ladino folk tune, ‘Lavaba la Written in 2009 to mark the Chopin bicentenary, the described by The New York Times as ‘among the most Concert Paraphrase on Powder Her Face (2009) reflects blanca niña’, Blanca Variations (2015) was commissioned three Mazurkas, Op. 27 (2009) were requested by accomplished all-round musicians of his generation’. Born the extravagance, grace and glamour of its subject in a by the 2016 Clara Haskil International Piano Competition. Emanuel Ax, who premiered them at Carnegie Hall, New in London in 1971, he studied piano at the Guildhall bravura piece in the grand manner of operatic paraphrases The music appears in Act I of The Exterminating Angel , York on 10 February 2010. The archetypal rhythms, School of Music & Drama, and read music at King’s of Liszt and Busoni. The composer quotes and Adès’s opera based on the film by Luis Buñuel, where it is ornamentation and phrasings of the dance form are College Cambridge. His music embraces influences from extemporises freely on several key scenes, transcribing performed by famous pianist Blanca Delgado. The wistful, evident in each of these tributes to the Polish master, yet jazz and pop as well as the Western classical tradition. He them as four spontaneous-sounding piano pieces. The first yearning folk tune persists throughout a varied sequence of Adès refashions such familiar gestures to create has contributed successfully to the major time-honoured piece is Scene One of the opera, Adès’s Ode to Joy (‘Joy’ treatments, some exploiting the full gamut of the keyboard something new and deeply personal. -
February 15, 2013
February 15, 2013 The New York Times Replica Edition - The New York Times - 15 Feb 2013 - Page #69 2/15/13 1:14 PM http://nytimes.newspaperdirect.com/epaper/services/OnlinePrintHandler.ashx?issue=83022013021500000000001001&page=69&paper=A3 Page 1 of 1 February 18, 2013 The New York Times Replica Edition - The New York Times - 18 Feb 2013 - Page #30 2/19/13 12:40 PM http://nytimes.newspaperdirect.com/epaper/services/OnlinePrintHandler.ashx?issue=83022013021800000000001001&page=30&paper=A3 Page 1 of 1 The New York Times Replica Edition - The New York Times - 10 Feb 2013 - Page #39 2/12/13 12:10 PM February 10, 2013 The New York Times Replica Edition - The New York Times - 10 Feb 2013 - Page #39 2/12/13 12:10 PM http://nytimes.newspaperdirect.com/epaper/services/OnlinePrintHandler.ashx?issue=83022013021000000000001001&page=39&paper=A3 Page 1 of 1 http://nytimes.newspaperdirect.com/epaper/services/OnlinePrintHandler.ashx?issue=83022013021000000000001001&page=39&paper=A3 Page 1 of 1 February 19, 2013 New Approaches to Themes Sacred and Sexual | Parsifal | Powder Her Face | Opera Reviews by Heidi Waleson - WSJ.com 3/2/13 12:44 PM Dow Jones Reprints: This copy is for your personal, non-commercial use only. To order presentation-ready copies for distribution to your colleagues, clients or customers, use the Order Reprints tool at the bottom of any article or visit www.djreprints.com See a sample reprint in PDF format. Order a reprint of this article now OPERA February 19, 2013, 6:00 p.m. ET New Approaches to Themes Sacred and Sexual By HEIDI WALESON Ken Howard/Metropolitan Opera Director François Girard transports Wagner's final opera to a postapocalyptic period. -
DMA Option 2 Thesis and Option 3 Scholarly Essay DEPOSIT COVERSHEET University of Illinois Music and Performing Arts Library
DMA Option 2 Thesis and Option 3 Scholarly Essay DEPOSIT COVERSHEET University of Illinois Music and Performing Arts Library Date: DMA Option (circle): 2 [thesis] or 3 [scholarly essay] Your full name: Full title of Thesis or Essay: Keywords (4-8 recommended) Please supply a minimum of 4 keywords. Keywords are broad terms that relate to your thesis and allow readers to find your work through search engines. When choosing keywords consider: composer names, performers, composition names, instruments, era of study (Baroque, Classical, Romantic, etc.), theory, analysis. You can use important words from the title of your paper or abstract, but use additional terms as needed. 1. _________________________________ 2. _________________________________ 3. _________________________________ 4. _________________________________ 5. _________________________________ 6. _________________________________ 7. _________________________________ 8. _________________________________ If you need help constructing your keywords, please contact Dr. Bashford, Director of Graduate Studies. Information about your advisors, department, and your abstract will be taken from the thesis/essay and the departmental coversheet. ÓCopyright 2018 Kyle Shaw PROMISCUITY, FETISHES, AND IRRATIONAL FUNCTIONALITY IN THOMAS ADÈS’S POWDER HER FACE BY KYLE SHAW THESIS Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Music Composition in the Graduate College of the University of Illinois at Urbana-Champaign, 2018 Urbana, Illinois Doctoral Committee: Associate Professor Reynold Tharp, Chair and Director of Research Assistant Professor Carlos Carrillo Professor Stephen Taylor Professor William Heiles ii ABSTRACT While various scholars have identified Thomas Adès’s primary means of generating pitch material—various patterns of expanding intervals both linear and vertical—there remains a void in the commentary on how his distinct musical voice interacts with the unique demands of articulating a coherent musico-dramatic art form. -
Download Booklet
THE TWENTY-FIFTH HOUR COMPOSER’S NOTE the same musical stuff, as if each were a THE CHAMBER MUSIC OF THOMAS ADÈS (b. 1971) different view through a kaleidoscope. ‘Six of Nearly twenty years separate the two string the seven titles’, he has noted, ‘evoke quartets on this record, and all I have been able various vanished or vanishing “idylls”. The Piano Quintet (2001) * to discover over this time is that music only gets odd-numbered are all aquatic, and would splice 1 I [11.43] more and more mysterious. I am very grateful if played consecutively.’ 2 II [4.35] for this enjoyable collaboration to Signum, Tim 3 III [3.00] Oldham, Steve Long at Floating Earth, and my In the first movement the viola is a gondolier friends the Calder Quartet. poling through the other instruments’ moonlit The Four Quarters (2011) World Premiere Recording 4 I. Nightfalls [7.06] water, with shreds of shadowy waltz drifting 5 II. Serenade: Morning Dew [3.12] Thomas Adès, 2015 in now and then. Next, under a quotation 6 III. Days [3.50] from The Magic Flute (‘That sounds so 7 IV. The Twenty-Fifth Hour [3.51] The Chamber Music delightful, that sounds so divine’ sing of Thomas Adès Monostatos and the slaves when Papageno Arcadiana (1993) plays his bells), comes a song for the cello 8 I. Venezia notturno [2.39] These three works are not only in classic under glistening harmonics. The music is 9 II. Das klinget so herrlich, das klinget so schon [1.22] genres but themselves becoming classics, with stopped twice in its tracks by major chords, 0 III. -
View List (.Pdf)
Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No. -
The Heraclitian Form of Thomas Adès's Tevot As a Critical Lens
The Art of Transformation: The Heraclitian Form of Thomas Adès’sTevot as a Critical Lens for the Symphonic Tradition and an original composition, Glimmer, Glisten, Glow for sinfonietta A Dissertation Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Music Composition and Theory David Rakowski and Yu-Hui Chang, Advisors In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Joseph Sowa May 2019 The signed version of this form is on file in the Graduate School of Arts and Sciences. This dissertation, directed and approved by Joseph Sowa’s Committee, has been accepted and approved by the Faculty of Brandeis University in partial fulfillment of the requirements for the degree of: DOCTOR OF PHILOSOPHY Eric Chasalow, Dean Graduate School of Arts and Sciences Dissertation Committee: David Rakowski, Brandeis University Department of Music Yu-Hui Chang, Brandeis University Department of Music Erin Gee, Brandeis University Department of Music Martin Brody, Wellesley College, Department of Music iii Copyright by Joseph Sowa 2019 Acknowledgements The story of my time at Brandeis begins in 2012, a few months after being rejected from every doctoral program to which I applied. Still living in Provo, Utah, I picked up David Ra- kowski from the airport for a visit to BYU. We had met a few years earlier through the Barlow Endowment for Music Composition, when Davy was on the board of advisors and I was an intern. On that drive several years later, I asked him if he had any suggestions for my doc- toral application portfolio, to which he immediately responded, “You were actually a finalist.” Because of his encouragement, I applied to Brandeis a second time, and the rest is history. -
Thomas Adès and the Baroque12.1O.2013
12718_dnw1314_2_ades_PRO_4C 2 12718_dnw1314_2_ades_PRO_4C 01.10.13 09:01 01.10.13 THOMAS ADÈS AND THE BAROQUE 12.1O.2013 THOMAS ADÈS AND THE BAROQUE Du musst dir die großen Komponisten als Freunde vorstellen. Furchteinflößende Freunde vielleicht, aber immerhin Freunde. 04 KONZERT Thomas Adès 05 „STANLEY KUBRICK DER NEUEN MUSIK“? THOMAS ADÈS MEETS PURCELL & COUPERIN 09 BIOGRAFIEN 11 VORSCHAU 12718_dnw1314_2_ades_PRO_4C 3 01.10.13 09:01 12718_dnw1314_2_ades_PRO_4C 4 01.10.13 09:01 SAMSTAG, 12.10.2013 THOMAS ADÈS NDR, ROLF-LIEBERMANN-STUDIO HENRY PURCELL ( 16 59 – 169 5 ) Fantazias (1680) 19 UHR | Einführung bearbeitet für Streichquartett mit Ilja Stephan Nr. 4 g-Moll Nr. 5 B-Dur 20 UHR | Konzert Nr. 6 F-Dur Nr. 7 c-Moll KELLER QUARTETT: ANDRÁS KELLER, Violine ( 16 6 8 – 173 3 ) ZSÓFIA KÖRNYEI, Violine FRANÇOIS COUPERIN Les lis naissans (Modérément et uniment) ZOLTÁN GÁL, Viola aus dem Troisième livre de Pièces de clavecin – JUDIT SZABÓ, Violoncello Treizième ordre (1722) WOLFGANG KUBE, Oboe La marche des Gris-vêtus BERND KÜNKELE, Horn (Pesamment, sans lenteur) LOUIS LORTIE, Klavier und Cembalo aus dem Premier livre de Pièces de clavecin – THOMAS ADÈS MEETS PURCELL & COUPERIN Quatrième ordre (1713) THOMAS ADÈS (*1971) 04 Arcadiana – Streichquartett op. 12 (1994) 05 KONZERT Venezia notturno „STANLEY KUBRICK DER NEUEN MUSIK“? — Pause — THOMAS ADÈS Das klinget so herrlich, das klinget so schön Thomas Adès, der eigentlich Konzertpianist werden wollte, für Kammerensemble sowie das von Kent Nagano am 12. Sep- Auf dem Wasser zu singen AND THE BAROQUE gelang der Aufstieg zum gefeierten Starkomponisten der briti- tember 1996 aus der Taufe gehobene Orchesterstück „These Et … (tango mortale) schen Gegenwartsmusik in Rekordzeit: Die „Süddeutsche Zei- Premises are Alarmed“. -
Calder Quartet
CAL PERFORMANCES PRESENTS PROGRAM Sunday, October 2, 2011, 3pm Franz Liszt (1811–1886) Petrarch Sonnet No. 123 (I’ vidi in terra angelici Hertz Hall costumi) from Années de Pèlerinage, Deuxième Année: Italie for Piano (1845) Calder Quartet Adès The Four Quarters for String Quartet (2010) Nightfalls Benjamin Jacobson violin Serenade: Morning Dew Andrew Bulbrook violin Days Jonathan Moerschel viola The Twenty-fifth Hour Eric Byers cello with Adès Quintet for Piano and String Quartet, Thomas Adès, piano Op. 20 (2000) PROGRAM Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. Igor Stravinsky (1882–1971) Three Pieces for String Quartet (1914) Dance: Quarter note = 126 Eccentric: Quarter note = 76 Canticle: Half note = 40 Thomas Adès (b. 1971) Mazurkas for Piano, Op. 27 (2009) Moderato, molto rubato Prestissimo molto espressivo Grave, maestoso Adès Arcadiana for String Quartet (1994) Venezia notturna Das klinget so herrlich, das klinget so schön Auf dem Wasser zu singen Et... (tango mortale) L’Embarquement O Albion Lethe INTERMISSION 6 CAL PERFORMANCES CAL PERFORMANCES 7 PROGRAM NOTES PROGRAM NOTES Igor Stravinsky (1882–1971) music at the time. He later explained the move- prominence—the piano solos Still Sorrowing American premiere at Santa Fe Opera in July Three Pieces for String Quartet ment’s inspiration in an interview with Robert and Darknesse Visible, the song cycles Five Eliot 2006 and has been announced for the 2012– Craft: “I had been fascinated by the movements Landscapes and Life Story, Catch and Living Toys 2013 Metropolitan Opera season. Composed in 1914. Premiered on November 8, of Little Tich, whom I had seen in London in for chamber orchestra—and in 1993 he was ap- The distinguished critic Andrew Porter 1915, in Chicago by the Flonzaley Quartet. -
Adès: Asyla, Tevot, Polaris, Brahms
Thomas Adès (b 1971) Page Index Asyla, Op 17 (1997) Tevot (2005–6) 3 Programme Notes 6 Notes de programme Polaris [Voyage for Orchestra] (2010) 9 Einführungstexte Brahms (2001) 12 Sung text Thomas Adès conductor 13 Composer / conductor biography London Symphony Orchestra 16 Soloist biography 18 Orchestra personnel lists (1997) Asyla, Op 17 22 LSO biography / Also available on LSO Live 1 I. 5’50’’ 2 II. 6’34’’ 3 III. Ecstasio 6’35’’ 4 IV. Quasi leggiero 5’02’’ 5 Tevot (2005–6) 20’19’’ 6 Polaris [Voyage for Orchestra] (2010) 13’30’’ 7 Brahms, Op 21 (2001) 5’05’’ Total time 62’55’’ Recorded live in DSD 128fs, 9 March (Tevot, Polaris, Brahms) & 16 March (Asyla) 2016, at the Barbican, London James Mallinson producer Classic Sound Ltd recording, editing and mastering facilities Jonathan Stokes for Classic Sound Ltd balance engineer, audio editor, mixing and mastering engineer Neil Hutchinson for Classic Sound Ltd recording engineer Booklet notes / Notes de programme / Einführungstexte © Paul Griffiths Translation into French / Traduction en français – Claire Delamarche Translation into German / Übersetzung aus dem Englischen – Elke Hockings © 2016 London Symphony Orchestra, London UK P 2016 London Symphony Orchestra, London UK 2 Programme Notes Next comes a slow movement, whose descents upon descents are begun by Thomas Adès (b 1971) keyed instruments and soon spread through the orchestra, led at first by bass Asyla, Op 17 (1997) oboe. There may be the sense of lament, or chant, echoing in some vast space – though a central section is more agitated and dynamic. There follows the club Asyla are places of safety. -
FRIDAY SERIES 4 Thomas Adès, Conductor Christianne Stotijn
26.10. FRIDAY SERIES 4 Helsinki Music Centre at 19:00 Thomas Adès, conductor Christianne Stotijn, mezzo-soprano Mark Stone, baritone György Kurtág: Ligatura – Message-Hommage 3 min à Frances-Marie Uitti (The Answered Unanswered Question), Op. 31b Jean Sibelius: The Swan of Tuonela, Op. 22/3 8 min Sanna Niemikunnas, cor anglais Jean Sibelius: Tapiola, Op. 112 18 min INTERVAL 20 min Thomas Adès: Totentanz 35 min 1 The LATE-NIGHT CHAMBER MUSIC will begin in the main Concert Hall after an interval of about 10 minutes. Those attending are asked to take (unnumbered) seats in the stalls. Kyeong Ham, oboe József Hárs, French horn Jouko Laivuori, harpsichord Thomas Adès: Sonata da caccia Op. 11 14 min 1. Gravement 2. Gayëment 3. Naïvement 4. Galament Interval at about 19.40. The concert will end at about 20.45, the late-night chamber music at about 21:15. Broadcast live on Yle Radio 1 and Yle Areena. A recording of the concert will be shown in the programme “RSO Musiikkitalossa” (The FRSO at the Helsinki Music Centre) on Yle Teema on 11.11. and 18.11. with a repeat on Yle TV 1 on 17.11. and 24.11. 2 GYÖRGY KURTÁG Kurtág. In the latter, the violins and cel- los play at the same time, but so that (b. 1926): LIGATURA – their bar lines do not coincide. In the fi- MESSAGE-HOMMAGE nal bars, a celesta joins in, rounding off À FRANCES-MARIE this enigmatic, introverted and at times UITTI (THE ANSWERED almost stagnant miniature lasting only a few minutes. -
Classical Music
2020– 21 2020– 2020–21 Music Classical Classical Music 1 2019– 20 2019– Classical Music 21 2020– 2020–21 Welcome to our 2020–21 Contents Classical Music season. Artists in the spotlight 3 We are committed to presenting a season unexpected sounds in unexpected places across Six incredible artists you’ll want to know better that connects audiences with the greatest the Culture Mile. We will also continue to take Deep dives 9 international artists and ensembles, as part steps to address the boundaries of historic Go beneath the surface of the music in these themed of a programme that crosses genres and imbalances in music, such as shining a spotlight days and festivals boundaries to break new ground. on 400 years of female composition in The Ghosts, gold-diggers, sorcerers and lovers 19 This year we will celebrate Thomas Adès’s Future is Female. Travel to mystical worlds and new frontiers in music’s 50th birthday with orchestras including the Together with our resident and associate ultimate dramatic form: opera London Symphony Orchestra, Britten Sinfonia, orchestras and ensembles – the London Los Angeles Philharmonic, The Cleveland Symphony Orchestra, BBC Symphony Awesome orchestras 27 Orchestra and Australian Chamber Orchestra Orchestra, Britten Sinfonia, Academy of Ancient Agile chamber ensembles and powerful symphonic juggernauts and conductors including Sir Simon Rattle, Music, Los Angeles Philharmonic and Australian Choral highlights 35 Gustavo Dudamel, Franz Welser-Möst and the Chamber Orchestra – we are looking forward Epic anthems and moving songs to stir the soul birthday boy himself. Joyce DiDonato will to another year of great music, great artists and return to the Barbican in the company of the great experiences.