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Magnus Lindberg 1
21ST CENTURY MUSIC FEBRUARY 2010 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 $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. 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. email: [email protected]. Typeset in Times New Roman. Copyright 2010 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. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal. -
Magnus Lindberg Al Largo • Cello Concerto No
MAGNUS LINDBERG AL LARGO • CELLO CONCERTO NO. 2 • ERA ANSSI KARTTUNEN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG (1958) 1 Al largo (2009–10) 24:53 Cello Concerto No. 2 (2013) 20:58 2 I 9:50 3 II 6:09 4 III 4:59 5 Era (2012) 20:19 ANSSI KARTTUNEN, cello (2–4) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 2 MAGNUS LINDBERG 3 “Though my creative personality and early works were formed from the music of Zimmermann and Xenakis, and a certain anarchy related to rock music of that period, I eventually realised that everything goes back to the foundations of Schoenberg and Stravinsky – how could music ever have taken another road? I see my music now as a synthesis of these elements, combined with what I learned from Grisey and the spectralists, and I detect from Kraft to my latest pieces the same underlying tastes and sense of drama.” – Magnus Lindberg The shift in musical thinking that Magnus Lindberg thus described in December 2012, a few weeks before the premiere of Era, was utter and profound. Lindberg’s composer profile has evolved from his early edgy modernism, “carved in stone” to use his own words, to the softer and more sonorous idiom that he has embraced recently, suggesting a spiritual kinship with late Romanticism and the great masters of the early 20th century. On the other hand, in the same comment Lindberg also mentioned features that have remained constant in his music, including his penchant for drama going back to the early defiantly modernistKraft (1985). -
The Infinisphere: Expanding Existing Electroacoustic Sound Principles by Means of an Original Design Application Specifically for Trombone
THE INFINISPHERE: EXPANDING EXISTING ELECTROACOUSTIC SOUND PRINCIPLES BY MEANS OF AN ORIGINAL DESIGN APPLICATION SPECIFICALLY FOR TROMBONE BY JUSTIN PALMER MCADARA SCHOLARLY ESSAY Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate College of the University of Illinois at Urbana-Champaign, 2020 Urbana, Illinois Doctoral Committee: Professor James Pugh, Chair and Director of Research Assistant Professor Eli Fieldsteel Professor Erik Lund Professor Charles McNeill DMA Option 2 Thesis and Option 3 Scholarly Essay DEPOSIT COVERSHEET University of Illinois Music and Performing Arts Library Date: July 10, 2020 DMA Option (circle): 2 [thesis] or 3 [scholarly essay] Your full name: Justin Palmer McAdara Full title of Thesis or Essay: The InfiniSphere: Expanding Existing Electroacoustic Sound Principles by Means of an Original Design Application Specifically for Trombone 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. Trombone 2. Electroacoustic 3. Electro-acoustic 4. Electric Trombone 5. Sound Sculpture 6. InfiniSphere 7. Effects 8. Electronic 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. -
Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy
Magnus Lindberg —Musical Gesture and Dramaturgy ACTA SEMIOTICA FENNICA Editor Eero Tarasti Associate Editors Paul Forsell Richard Littlefield Editorial Board Pertti Ahonen Jacques Fontanille André Helbo Pirjo Kukkonen Altti Kuusamo Ilkka Niiniluoto Pekka Pesonen Hannu Riikonen Vilmos Voigt Editorial Board (AMS) Márta Grabócz Robert S. Hatten Jean-Marie Jacono Dario Martinelli Costin Miereanu Gino Stefani Ivanka Stoianova TAKEMI SOSA Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Acta Semiotica Fennica LIII Approaches to Musical Semiotics 26 Academy of Cultural Heritages, Helsinki Semiotic Society of Finland, Helsinki 2018 E-mail orders [email protected] www.culturalacademy.fi https://suomensemiotiikanseura.wordpress.com Layout: Paul Forsell Cover: Harumari Sosa © 2018 Takemi Sosa All rights reserved Printed in Estonia by Dipri OÜ ISBN 978-951-51-4187-3 (nid.) ISBN 978-951-51-4188-0 (PDF) ISSN 1235-497X Acta Semiotica Fennica LIII ISSN 1458-4921 Approaches to Musical Semiotics 26 Department of Philosophy and Art Studies Faculty of Arts University of Helsinki Finland Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Doctoral Dissertation Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki (the main building), in auditorium XII on 04 May 2018 at 12 o’clock noon. For my Sachiko, Asune and Harunari 7 Abstract The Finnish composer Magnus Lindberg (b. 1958) is one of the leading figures in the field of contemporary classical music. Curiously, despite the fascinating characteristics of Lindberg’s works and the several interesting subjects his mu- sic brings up, his works have not been widely researched. -
Magnus Lindberg Orchestral Music Magnus Lindberg (B
Magnus Lindberg ORCHESTRAL MUSIC Magnus Lindberg (b. 1958) ORCHESTRAL MUSIC CD 1 [65’49] 1 Tendenza (1982) 11’54 Avanti! Chamber Orchestra SAKARI ORAMO, conductor Recorded in May 1996, Kanneltalo, Helsinki Producer: Seppo Siirala · Engineer: Enno Mäemets 1997 Ondine Oy Kraft (1985) 30’16 2 I. 16’04 3 II. 14’12 Toimii Ensemble (Kari Kriikku, clarinet and percussion · Anssi Karttunen, cello and percussion · Magnus Lindberg, piano and percussion · Juhani Liimatainen, sound control and percussion · Lasse Erkkilä, percussion · Riku Niemi, percussion · Esa-Pekka Salonen, percussion) Finnish Radio Symphony Orchestra ESA-PEKKA SALONEN, conductor Recorded in February 2002, Kultuuritalo, Helsinki Producer: Laura Heikinheimo · Engineer and Digital editor: Pentti Männikkö Assistant engineer: Anu Pylkkänen Mixing: Pentti Männikko, Juhani Liimatainen, Laura Heikinheimo, Magnus Lindberg Recorded in co-production with the Finnish Broadcasting Company YLE 2004 Ondine Oy 4 Kinetics (1989) 12’39 Bavarian Radio Symphony Orchestra JUKKA-PEKKA SARASTE, conductor Recorded in October 1989, Herkulessaal, Munich Producer: Michael Kempff · Engineer: Hans Schmid 1992 Ondine Oy 5 Marea (1990) 10’30 Avanti! Chamber Orchestra JUKKA-PEKKA SARASTE, conductor Recorded in December 1991, Sibelius Academy Concert Hall, Helsinki Producer: Seppo Siirala · Engineers: Robi de Godzinsky, Juhani Liimatainen 1992 Ondine Oy CD 2 [66’26] 1 Joy (1990) 26’39 Avanti! Chamber Orchestra JUKKA-PEKKA SARASTE, conductor Recorded in December 1991, Sibelius Academy Concert Hall, Helsinki Producer: -
Modest Mussorgsky Symphony in Sculpture
October 12/13 notesSYMPHONY IN SCULPTURE By Dr. Richard E. Rodda 30 SECOND NOTES: Symphony In Sculpture, commissioned by the Des Moines Symphony in celebration of its 75th Season in 2012-2013, is Minnesota composer Steve Heitzeg’s musical impression of works in the John and Mary Pappajohn Sculpture Park, the green gateway to the city’s downtown. He composed Symphony In Sculpture II in 2015 and this concert features the premiere of Symphony in Sculpture III, dedicated to John and Mary Pappajohn in celebration of their three newest additions to the Sculpture Park, including Robert Indiana’s iconic LOVE. Complementing Heitzeg’s work on this program are the cinematic Night on Bald Mountain by Modest Mussorgsky and Nikolai Rimsky-Korsakov’s exotic Scheherazade, inspired by The Thousand and One Nights, a collection of millennium-old fantasy tales from Egypt, Persia and India. MODEST The mountain referred to in the title of MUSSORGSKY Mussorgsky’s tone poem, well known in Russian Born March 21 1839 in legend, is Mount Triglav, near Kiev, reputed to be Karevo, Russia; the site of the annual witches’ sabbath that died March 16, 1881 in occurs on St. John’s Night, June 23-24, the eve St. Petersburg. of the Feast of St. John the Baptist. The sinister god Chernobog, the devil himself in disguise, A NIGHT ON BALD MOUNTAIN (1867) presides over the demonic revelries. The score Arranged by Nikolai Rimsky-Korsakov contains the following synopsis of the action: (1844-1908) “Subterranean sounds of supernatural voices ... • First performed on October 15, 1886 in St. -
Art Department Presents... Millikin-Decatur Symphony Orchestra
Art Department Presents... Calendar of Events Megan Wolfe and University of North Carolina Asheville Clay Connection February 1—25 January 25-February 25 Ceramic Sculpture by Perkinson Art Gallery Gallery hours Megan Wolfe, Perkinson Monday-Friday Art Gallery 12:00-5:00 pm Saturday, February 6 Jazz at LSB with Kevin Megan is an Associate Professor of Art, Ceramics at Hart & the Vibe Tribe, the University of North Carolina in Asheville. The 3:30-5:30 pm show will include ceramic sculptural work by her, a few of her former students, and a some potter Millikin-Decatur friends. Symphony Orchestra presents Conductor An Artist Talk with Megan Wolfe will take place on Candidate, Martha Thursday, February 25, 4:00 pm in Kirkland 128 and Placeres, 7:30 pm in a closing reception will follow from 5:00-6:30 pm. This is free and open to the public. Kirkland Fine Arts Center Millikin-Decatur Symphony Orchestra Thursday, February 11 MU Wrestling Conductor Candidate, Martha Placeres, Extravaganza, 6:00 pm & Young Artists Concert in Kirkland Fine Arts Center Saturday, February 6, 7:30 pm Kirkland Fine Arts Center Saturday, February 13 Tickets $13-$16.50 Jazz at LSB with Diversity, 3:30-5:30 pm February 18—20 The Magic Pinafore, 7:30 pm in Albert Taylor Originally from Mexico, Martha Placeres is known for Theatre her passion for music and music education. She has a Friday, February 19 Bachelors Degree from the Puebla State Conservatory of Kate Reid, vocalist, Music in Violin Performance, a Masters in Music Education from the University of Texas at Brownsville, and 7:30 pm at Westminster a Doctorate in Orchestral Conducting from Texas Tech Presbyterian Church, University. -
Adams Dr Atomic Lindberg
Boosey & Hawkes Music Publishers Limited February 2006 2006/1 Kurtág Included in this issue: Adams Dr Atomic van der Aa John Adams’s Doctor Atomic received its much-heralded world premiere at wins New opera After Life San Francisco Opera on 1 October, before an audience of expectant opera-goers opens Holland Festival and critics from more than a dozen countries. Grawemeyer Adams’s long-time collaborator Peter Sellars Hungarian composer György Kurtág has provided Doctor Atomic’s libretto and won the 2006 University of Louisville staging, and Donald Runnicles conducted a Grawemeyer Award for Music Composition superb cast led by baritone Gerald Finley as for his ‘…concertante…’ for violin, viola and J. Robert Oppenheimer. The Sellars orchestra. The Grawemeyer Award, worth production is set to travel widely in coming $200,000, is granted annually by the years, with its European premiere scheduled Grawemeyer Foundation for a work that by Netherlands Opera for the Holland makes an outstanding contribution to the Festival in June 2007, and further stagings in field of musical composition. 2008 at English National Opera and Lyric Opera of Chicago. ‘…concertante…’ was premiered in 2003 by violinist Hiromi Kikuchi and violist Ken Hakii Nyman “Doctor Atomic is J. Robert Oppenheimer, who accompanied by the Danish Radio led a group of acclaimed scientists in the Music for The Libertine Orchestra under Michael Schonwandt. remarkable race to build the world’s first nuclear Since then, the 25-minute score has been starring Johnny Depp weapon. The opera focuses on the bomb’s secret test in summer 1945 in the New Mexico desert. -
Steve Parker Day Is Done
Steve Parker Day is Done November 21, 2020 – February 28, 2021 Brown Foundation Gallery & Vault November 21, 2020 – February 28, 2021 Steve Parker Day is Done Day is Done features sound sculptures by Austin-based artist Steve Parker. His work explores communal experiences that examine history, systems, and behavior. The exhibition features a new work inspired by Guy Taylor’s public performance of Taps each evening in downtown Galveston and the tradition being carried on by Constable Clint Wayne Brown. Parker’s site-responsive sculpture for Galveston is made from salvaged brass instrument bells that play a composition of collected recordings of the lyrics of the well-known Taps tune. This work reflects on its roots as a call to retire for the evening and metaphor for life and death. The exhibition also features Parker’s 2018 work Sirens in the second-floor vault, which reimagines the function of the contemporary civil defense siren. Rather than projecting conventional warning tones, Sirens plays intermittent recordings of songs of distress as a call to action. Steve Parker is an artist, musician, and curator in Austin, TX. He is the recipient of the Rome Prize, the Tito’s Prize, a Fulbright, and grants from the National Endowment for the Arts. Parker works with salvaged musical instruments, amateur choirs, marching bands, urban bat colonies, flocks of grackles, and pedicab fleets to investigate how communal listening can provoke greater social awareness and responsibility. His projects include elaborate civic rituals for humans, animals, and machines; listening sculptures modeled after obsolete surveillance tools; and cathartic transportation symphonies for operators of cars, pedicabs, and bicycles. -
Grand Soir Lindberg Vendredi 9 Mars 2018 – 20H30
SALLE DES CONCERTS – CITÉ DE LA MUSIQUE Grand soir Lindberg Vendredi 9 mars 2018 – 20h30 NPGS_03-09_Berliner-Rattle V2.indd 2 30/08/2017 15:23 Avant le concert Clé d’écoute, « Magnus Lindberg et ses pairs », à 19h45 dans l’Amphithéâtre. PROGRAMME Magnus Lindberg Arena 2* Iannis Xenakis Palimpsest* ENTRACTE Gérard Grisey Modulations Christian Rivet Étoile Double Création mondiale. Commande de l’Ensemble intercontemporain ENTRACTE Brian Ferneyhough Time and Motion Study I Magnus Lindberg Souvenir Ensemble intercontemporain Magnus Lindberg*, Matthias Pintscher, direction Éric-Maria Couturier, violoncelle Nicolas Crosse, contrebasse Alain Billard, clarinette basse Coproduction Ensemble intercontemporain, Philharmonie de Paris. FIN DU CONCERT VERS 23H. Un chemin tout d’abord : Helsinki, Darmstadt, Sienne puis Paris. Des rencontres ensuite : Einojuhani Rautavaara, Paavo Heininen et Osmo Lindeman, Helmut Lachenmann, Brian Ferneyhough, Franco Donatoni, Vinko Globokar et Gérard Grisey. Sous le signe de l’ouverture, la forma- tion de Magnus Lindberg s’est poursuivie dans un fascinant éclectisme intellectuel et esthétique jusqu’à confronter les héritages nationaux à la scène actuelle du pop-rock ou du métal. Et le compositeur de se souvenir : « Tous ces pôles d’attraction, assez éloignés, ont constitué une somme d’influences assez heureuses. Et je recherchai cette diver- sité de références comme autant de langage, car à cette époque, d’un point de vue stylistique, je n’avais pas de véritable inquiétude, je savais exactement ce que je voulais. Ce qui n’a pas toujours été le cas par la suite. » (Entretien avec Peter Szendy, « Magnus Lindberg », Les Cahiers de l’Ircam 3, 1993.) Si un Grand soir ne peut synthétiser un tel parcours en un unique concert, ne peut-il replacer l’artiste dans le contexte sonore qui l’a vu naître ? Version révisée d’une pièce destinée à un concours de direction d’orchestre, Arena 2 est un parfait exemple d’orchestration aux extra- ordinaires effets kaléidoscopiques de Magnus Lindberg. -
Magnus Lindberg Tempus Fugit Violin Concerto No
MAGNUS LINDBERG TEMPUS FUGIT VIOLIN CONCERTO NO. 2 FRANK PETER ZIMMERMANN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU 1 MAGNUS LINDBERG Philip Gatward 2 © MAGNUS LINDBERG (1958) Tempus fugit (2016–17) 33:16 1 Part 1 3:30 2 Part 2 7:53 3 Part 3 9:19 4 Part 4 5:43 5 Part 5 6:51 Violin Concerto No. 2 (2015) 24:57 6 1st movement 9:07 7 2nd movement – Cadenza 10:46 8 3rd movement 5:04 FRANK PETER ZIMMERMANN, violin (6–8) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 3 “I’m not as cautious as some about returning for a second concerto. In the second half of the 20th century it seemed that composers wrote one definitive concerto for an instrument and then moved on, but if you look further back, composers like Bartók and Prokofiev were happy to return and come up with new solutions for the same instrument. I’m with them because I’m particularly drawn to the great instruments such as piano, violin and cello – I’m not interested in ending up having to write concertos for exotica such as theremin. I’ve also had healthy gaps between my concertos to allow thinking time: 20 years between my two piano concertos, 15 between those for cello, and about 10 years will separate the violin concertos.” Thus spoke Magnus Lindberg around the time of the premiere of his Second Violin Concerto in late 2015. He had gone through a quick replay, so to speak, of his earlier concerto cycle in the preceding years: his earlier concertos for piano (1994), cello (1999) and violin (2006) each gained a successor in fairly rapid succession with the Second Piano Concerto (2012), the Second Cello Concerto (2013) and the Second Violin Concerto (2015). -
Nov 06 Prog RIGHT for Web.Qxd
SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS David Milnes, Music Director Monday, 6 November 2006, 8 pm Yerba Buena Center for the Arts Forum Performers Tod Brody, flute Carey Bell, clarinet NEW PIANO NOW William Wohlmacher, bass clarinet Julie Steinberg, keyboard LUCA FRANCESCONI Encore/Da capo (1985/1995) Karen Rosenak, piano Graeme Jennings, violin Darcy Rindt, viola BRUNO MANTOVANI Jazz Connotation (1998) Stephen Harrison, cello OSCAR STRASNOY Exercices de Latinité (2002) Christopher Froh, percussion I. Cha-cha-cha II. Tango III. Tarantella This concert is made possible in part by the generous support of the Phyllis C. Wattis MAGNUS LINDBERG Etude (2001) Foundation. POUL RUDERS, Event Horizon (2001) Jay Gottlieb, piano Mr. Gottlieb’s piano recital is made possible by a generous grant from the Ross McKee Foundation. ~ INTERMISSION ~ The performance of music by Donatoni, Francesconi, and Scelsi is underwritten in part by the Istituto Italiano di Cultura.. MAURICE OHANA Free Counterpoints (1985) KAREN TANAKA Techno Etude no. 2 (2000) GIACINTO SCELSI Four Illustrations (1953) I. Vishnu sleeps; Saraszati plays the zither II. Vishnu as wild boar III. Rama IV. Krishna FRANCO DONATONI excerpts from Françoise - Variationen Steinway Piano provided by Sherman Clay Concert Event Services. (1983-96) Jay Gottlieb, piano LUCA FRANCESCONI Encore/Da capo (1985/1995) Program Notes A new venture by the San Francisco Contemporary Music Players LUCA FRANCESCONI (B. 1956) uring a recent visit to California, in preparation for the pre- Falling miere of a piece commissioned by Oliver Knussen and the DLos Angeles Philharmonic, Luca Francesconi was heard to James Matheson’s say: “It is very important to find clear ideas, after all the complexity of 2007 Contemporary Insights, Vibra-Elufa the avant-garde, without giving up the fantastic power of everything in this century that just passed.