DOCSLIB.ORG

New Music at Lawrence, Steve Reich, Music for 18 Musicians: 40Th Anniversary Celebration, April 24, 2016 Lawrence University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Music at Lawrence, Steve Reich, Music for 18 Musicians: 40Th Anniversary Celebration, April 24, 2016 Lawrence University Lawrence University Lux Conservatory of Music Concert Programs Conservatory of Music 4-24-2016 8:00 PM New Music At Lawrence, Steve Reich, Music for 18 Musicians: 40th Anniversary Celebration, April 24, 2016 Lawrence University Follow this and additional works at: http://lux.lawrence.edu/concertprograms Part of the Music Performance Commons © Copyright is owned by the author of this document. Recommended Citation Lawrence University, "New Music At Lawrence, Steve Reich, Music for 18 Musicians: 40th Anniversary Celebration, April 24, 2016" (2016). Conservatory of Music Concert Programs. Program 203. http://lux.lawrence.edu/concertprograms/203 This Concert Program is brought to you for free and open access by the Conservatory of Music at Lux. It has been accepted for inclusion in Conservatory of Music Concert Programs by an authorized administrator of Lux. For more information, please contact [email protected]. NEW MUSIC @ LAWRENCE Steve Reich Music for Eighteen Musicians Steve Reich Music for 18 Musicians 40th anniversary celebration Sunday, April 24, 2016 • 8 p.m. Memorial Chapel Michael Mizrahi, Ensemble Director Dane Richeson, Director of Percussion Studies Daniel Bernstein, Nathan Gornick, clarinets Sean Goldman, Jocelyn Polczynski, xylophones Dane Richeson, vibraphone Jake Victor, Dan Reifsteck, Adam Friedman, Kennison Ther, Liam McCarty-Dick, marimbas Jon Hanrahan, Michael Mizrahi, Anthony Cardella, Neil Krzeski, Andrew Wilson, Alvina Tan, pianos Sarah Coffman, Elena Stabile, Kelsey Wang, Lorna Stephens, vocals Sofie Yang, violin Maria Longhi, cello Music for 18 Musicians (1976) Steve Reich (b. 1936) Recipient of the 2009 Pulitzer Prize for music, Steve Reich has been called “America’s greatest living composer” (The Village Voice), “the most original musical thinker of our time” (The New Yorker) and “among the great composers of the century” (The New York Times). His music has been influential to composers and mainstream musicians all over the world. He is a leading pioneer of minimalism, having in his youth broken away from the “establishment” that was serialism. His music is known for steady pulse, repetition and a fascination with canons; it combines rigorous structures with propulsive rhythms and seductive instrumental color. It also embraces harmonies of non-Western and American vernacular music (especially jazz). His studies have included the Gamelan, African drumming (at the University of Ghana) and traditional forms of chanting the Hebrew scriptures. Different Trains and Music for 18 Musicians have each earned him Grammy Awards, and his “documentary video opera” works—The Cave and Three Tales, done in collaboration with video artist Beryl Korot— have pushed the boundaries of the operatic medium. Over the years his music has significantly grown, both in expanded harmonies and instrumentation, resulting in a Pulitzer Prize for his 2007 composition Double Sextet. In 2008, Reich wrote his first piece for rock band setup, 2x5, which premiered on the opening night of the Manchester International Festival on a double bill with German electronic music legends Kraftwerk. “There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them” —The Guardian Steve Reich is published by Boosey & Hawkes. NEW MUSIC @ LAWRENCE 2015–16 eighth blackbird Friday, October 2, 2015 • 8 p.m. Memorial Chapel Singer Pur Tuesday, October 13, 2015 • 8 p.m. Memorial Chapel Richard Craig, flute, and David Revill, electronics, SOLO Saturday, October 31, 2015 • 8 p.m. Harper Hall, Music-Drama Center David Kaplan, piano Wednesday, February 3, 2016 • 8 p.m. Harper Hall, Music-Drama Center Steve Reich, Music for Eighteen Musicians: 40th anniversary celebration Sunday, April 24, 2016 • 8 p.m. Memorial Chapel go.lawrence.edu/newmusic CO16-144.
Load more

Recommended publications
  • In Low-Key Buffalo, a New-Music Milestone
    Music - June in Buffalo Celebrates 35th Anniversary - NYTimes.com Page 1 of 4 • Reprints This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. June 4, 2010 In Low-Key Buffalo, a New-Music Milestone By ALLAN KOZINN BUFFALO — This city may not seem as glamorous a place for a summer new-music festival as Tanglewood in Massachusetts or Ojai in California, and puzzlingly, the University at Buffalo does relatively little to promote the annual June in Buffalo festival, which the composer Morton Feldman founded in 1975. But June in Buffalo has a sense of mission that has made it an important part of the new- music ecology. Its drawing cards are accomplished new-music performers — among them this year, the Arditti Quartet, Signal and Ensemble SurPlus — playing works by established composers. Equally important is the part of the festival devoted to young composers. Every year about 70 apply for 20 to 25 positions as “participants.” Those chosen have their music played by the guest ensembles and dissected in workshops. This year June in Buffalo, which opened on Monday and runs through Sunday, is celebrating its 35th anniversary, as well as the 25th anniversary of the composer David Felder’s directorship — or actually, revival — of the festival. When Mr. Felder joined the University at Buffalo faculty in 1985, June in Buffalo had been dormant for five years.
    [Show full text]
  • ZGMTH - the Order of Things
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bangor University Research Portal The Order of Things. Analysis and Sketch Study in Two Works by Steve ANGOR UNIVERSITY Reich Bakker, Twila; ap Sion, Pwyll Zeitschrift der Gesellschaft für Musiktheorie DOI: 10.31751/1003 PRIFYSGOL BANGOR / B Published: 01/06/2019 Publisher's PDF, also known as Version of record Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Bakker, T., & ap Sion, P. (2019). The Order of Things. Analysis and Sketch Study in Two Works by Steve Reich. Zeitschrift der Gesellschaft für Musiktheorie, 16(1), 99-122. https://doi.org/10.31751/1003 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 09. Oct. 2020 ZGMTH - The Order of Things https://www.gmth.de/zeitschrift/artikel/1003.aspx Inhalt (/zeitschrift/ausgabe-16-1-2019/inhalt.aspx) Impressum (/zeitschrift/ausgabe-16-1-2019/impressum.aspx) Autorinnen und Autoren (/zeitschrift/ausgabe-16-1-2019/autoren.aspx) Home (/home.aspx) Bakker, Twila / ap Siôn, Pwyll (2019): The Order of Things.
    [Show full text]
  • “Classical” Minimalism
    from Richard Taruskin, “Oxford History of Western Music Volume V: Music in the Late Twentieth Century; Chapter 8: A Harmonious Avant-Garde?”. Retrieved 4/29/2011 from oxfordwesternmusic.com. “CLASSICAL” MINIMALISM For many listeners, the most characteristic and style-defining aspect of In C is the constant audible eighth-note pulse that underlies and coordinates all of the looping, and that seems, because it provides a constant pedal of Cs, to be fundamentally bound up with the work's concept. Like much modernist practice since at least Stravinsky, it puts the rhythmic spotlight on the “subtactile” level, accommodating and facilitating the free metamorphosis of the felt beat —for example, from quarters to dotted quarters at the twenty-second module of In C—and allows their multiple presence to be felt as levels within a complex texture. It may be surprising, therefore, to learn that the constant C-pulse was an afterthought, adopted in rehearsal for what seemed at the time a purely utilitarian purpose (simply to keep the group together in lieu of a conductor), and that it was not even Riley's idea. It was Reich's. Steve Reich came from a background very different from Young's and Riley's. Where they had a rural, working-class upbringing on the West Coast, Reich was born into a wealthy, professional- class family in cosmopolitan New York. Like most children of his economic class, Reich had traditional piano lessons and plenty of exposure to what in later years he mildly derided as the “bourgeois classics.” He had an elite education culminating in a Cornell baccalaureate with a major in philosophy.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Singing corporeality: reinventing the vocalic body in postopera Novak, J. Publication date 2012 Link to publication Citation for published version (APA): Novak, J. (2012). Singing corporeality: reinventing the vocalic body in postopera. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 Chapter 3 Monstrous Singing: The Politics of Vocal Existence169 “Today monsters remind us of the exclusion of the human from life, of life that is more and more being divided from humanity (...)”170 Bojana Kunst „Every creature has a song – the song of the dogs – and the song of the doves – the song of the fly – the song of the fox.- What do they say?“171 Adin Steinsaltz In this chapter my concern is with how singing appears monstrous as a result of existing beyond the body that produces it, with the politics of the monstrous voice and with the consequences this has for the opera.
    [Show full text]
  • Juilliard Percussion Ensemble Daniel Druckman , Director Daniel Parker and Christopher Staknys , Piano Zlatomir Fung , Cello
    Monday Evening, December 11, 2017, at 7:30 The Juilliard School presents Juilliard Percussion Ensemble Daniel Druckman , Director Daniel Parker and Christopher Staknys , Piano Zlatomir Fung , Cello Bell and Drum: Percussion Music From China GUO WENJING (b. 1956) Parade (2003) SAE HASHIMOTO EVAN SADDLER DAVID YOON ZHOU LONG (b. 1953) Wu Ji (2006) CHRISTOPHER STAKNYS, Piano BENJAMIN CORNOVACA LEO SIMON LEI LIANG (b. 1972) Inkscape (2014) DANIEL PARKER, Piano TYLER CUNNINGHAM JAKE DARNELL OMAR EL-ABIDIN EUIJIN JUNG Intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. CHOU WEN-CHUNG (b. 1923) Echoes From the Gorge (1989) Prelude: Exploring the modes Raindrops on Bamboo Leaves Echoes From the Gorge, Resonant and Free Autumn Pond Clear Moon Shadows in the Ravine Old Tree by the Cold Spring Sonorous Stones Droplets Down the Rocks Drifting Clouds Rolling Pearls Peaks and Cascades Falling Rocks and Flying Spray JOSEPH BRICKER TAYLOR HAMPTON HARRISON HONOR JOHN MARTIN THENELL TAN DUN (b. 1957) Elegy: Snow in June (1991) ZLATOMIR FUNG, Cello OMAR EL-ABIDIN BENJAMIN CORNOVACA TOBY GRACE LEO SIMON Performance time: Approximately 1 hour and 45 minutes, including one intermission Notes on the Program Scored for six Beijing opera gongs laid flat on a table, Parade is an exhilarating work by Jay Goodwin that amazes both with its sheer difficulty to perform and with the incredible array of dif - “In studying non-Western music, one ferent sounds that can be coaxed from must consider the character and tradition what would seem to be a monochromatic of its culture as well as all the inherent selection of instruments.
    [Show full text]
  • To Repeat Or Not to Repeat, That Is the Question1 by Kyle Gann
    To Repeat or Not to Repeat, That Is the Question1 By Kyle Gann Steve Reich In the good old 1960s, the Bohemian life was cheap in lower Manhattan, the streets were relatively safe, and artists drove cabs for a living. Steve Reich, for example. He had been experimenting with tapes of interesting voices he found, and he rigged up his cab with a tape recorder so he could tape some of his passengers. One day he recorded a young African- American man who had been beaten up in the Harlem riots of 1964. By the young man's account, the police were taking away victims and would only take those who were visibly bleeding to the hospital. This young man wasn't bleeding, so, as he said, "I had to, like, open the bruise up and let some of the bruise blood come out to show them." The inner melody of that phrase intrigued Reich. He took the tape home and made tape loops from the words "Come out to show them." He started two of the tape loops together and, because his cheap tape recorders weren't precisely the same speed, he listened to them inevitably out of phase. This gradual phasing process obscured the words and turned them into a little repeated melody in C minor. Reich taped the whole process and called the resulting piece Come Out. Describing how it felt the first time he heard two tape loops go out of phase, Reich said, "The sensation that I had in my head was that the sound moved over to my left ear, down to my left shoulder, down my left arm, down my leg, out across the floor to the left, and finally began to reverberate and shake..
    [Show full text]
  • Untersuchungen Zu Steve Reichs Music for 18 Musicians
    Untersuchungen zu Steve Reichs Music for 18 Musicians vorgelegt von Diplom-Musikerzieher John Leigh aus Palo Alto, Kalifornien von der Fakultät I – Geisteswissenschaften der Technischen Universität Berlin zur Erlangung des akademischen Grades Doktor der Philosophie - Dr. phil. - genehmigte Dissertation Promotionsausschuss: Vorsitzender: Prof. Dr. W. Sendlmeier Berichter: Prof. Dr. C.M. Schmidt Berichterin: Prof. Dr. H. de la Motte-Haber Tag der wissenschaftliche Aussprache: 22. Januar 2010 Berlin 2010 D 83 Inhaltsverzeichnis Vorwort i I. Klangorganisation Besetzung und Instrumentation 1 Gliederung 3 Die Übergänge 20 Die Prozesse 25 Prozess I 28 Die Teilprozesse Ia-Ij 45 Pattern I 56 Prozess II 69 Pattern II 77 Prozess IIIA 77 Prozess IIIB 79 Prozess /Pattern IV 80 Die Prozesse I bis IV 83 Die Vibraphoneinsätze 100 Harmonik 112 Versuch einer Interpretation der harmonischen Beziehungen 127 Versuch einer Interpretation der formalen Beziehungen 131 II. Theoretische Interpretation Music for 18 Musicians in der Evolution der Reichschen Kompositionstechnik Besetzung/Instrumentation 138 Formale Gliederung 142 Die Übergänge 146 Schichtung 145 Die Prozesse 151 Rhythmische Modi 162 Modus 165 Harmonik 171 Momente der Tradition in Music for 18 Musicians 177 Music for 18 Musicians und der „Minimalismus“: Steve Reichs Music for 18 Musicians, Terry Rileys In C und Philip Glass’ Music in Twelve Parts 210 Teil III. Empirische Untersuchung: Ein Vergleich zwischen Section II aus Steve Reichs Music for 18 Musicians und Bourreaux de solitude aus Pierre Boulez
    [Show full text]
  • Chamber Music Concert
    2009-2010 presents UNIVERSITY OF WASHINGTON WIND ENSEMBLE Timothy Salzman, conductor CHAMBER MUSIC CONCERT October 25, 2009 1:30 PM Brechemin Auditorium PROGRAM BRAIN RUBBISH (2006/7) ............................................................................... CHRISTIAN LINDBERG (b. 1958) Gary Brattin, conductor Eric Smedley* / Angela Zumbow* / Joseph Sullivan / Joshua Gailey / Leah Miyamoto, trumpet Kenji Ulmer* / Christopher Sibbers / Alison Farley, horn Masa Ohtake* / Sam Elliot / Man-Kit Iong / Zach Roberts, trombone Danny Helseth, euphonium Curtis Peacock* / Seth Tompkins, tuba *brass quintet soloists EIGHT LINES (1983) .................................................................................................... STEVE REICH (b. 1936) Vu Nguyen, conductor Chung-Lin Lee / Maggie Stapleton, flute & piccolo Jacob Bloom / Kirsten Cummings / Geoffrey Larson, clarinet & bass clarinet Akiko Iguchi / Mayumi Tayake, piano Katy Balatero / Elizabeth Knighton / Kouki Tanaka / Matthew Wu, violin T. J. Pierce / Andrew Schirmer, viola Karen Helseth / Erica Klein, cello SHARPENED STICK (2000) ........................................................................... BRETT WILLIAM DIETZ (b. 1972) Timothy Salzman, conductor Jennifer Wagner / Chris Lennard / Melanie Stambaugh / Lacey Brown / Chia-Hao Hsieh MOGGIN’ ALONG Fr’ forty years next Easter day, An’ then children Him and me in wind and weather Come till we have eight Have been a-gittin’ bent ‘n; gray As han’some babes as ever growed Moggin’ along together. To walk beside a mother’s knee, They helped me bear it all, y’ see. We’re not so very old, of course, It ain’t been nothin’ else But still, we ain’t so awful spry, But scrub an’ rub’ an’ bake, and stew As when we went to singin’-school The hull, hull time over stove or tub Afoot and ‘cross lots, him and I, No time to rest as men folk do.
    [Show full text]
  • Clever Children: the Sons and Daughters of Experimental Music?
    Clever Children: The Sons and Daughters of Experimental Music Author Carter, David Published 2009 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/1356 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367632 Griffith Research Online https://research-repository.griffith.edu.au Clever Children: The Sons and Daughters of Experimental Music? David Carter B.Music / Music Technology (Honours, First Class) Queensland Conservatorium Griffith University A dissertation submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy 19 June 2008 Keywords Contemporary Music; Dance Music; Disco; DJ; DJ Spooky; Dub; Eight Lines; Electronica; Electronic Music; Errata Erratum; Experimental Music; Hip Hop; House; IDM; Influence; Techno; John Cage; Minimalism; Music History; Musicology; Rave; Reich Remixed; Scanner; Surface Noise. i Abstract In the late 1990s critics, journalists and music scholars began referring to a loosely associated group of artists within Electronica who, it was claimed, represented a new breed of experimentalism predicated on the work of composers such as John Cage, Karlheinz Stockhausen and Steve Reich. Though anecdotal evidence exists, such claims by, or about, these ‘Clever Children’ have not been adequately substantiated and are indicative of a loss of history in relation to electronic music forms (referred to hereafter as Electronica) in popular culture. With the emergence of the Clever Children there is a pressing need to redress this loss of history through academic scholarship that seeks to document and critically reflect on the rhizomatic developments of Electronica and its place within the history of twentieth century music.
    [Show full text]
  • NEW MUSIC COMPOSITION for LIVE PEFORMANCE and INTERACTIVE MULTIMEDIA DOCTOR of CREATIVE ARTS from by THOMAS A. FITZGERALD Bmus
    NEW MUSIC COMPOSITION FOR LIVE PEFORMANCE AND INTERACTIVE MULTIMEDIA A thesis submitted in partial fulfilment of the requirements for the award of the degree DOCTOR OF CREATIVE ARTS from UNIVERSITY OF WOLLONGONG by THOMAS A. FITZGERALD BMus(Hons), MMus(Melb) FACULTY of CREATIVE ARTS 2004 Thesis Certification CERTIFICATION I, Thomas A. Fitzgerald, declare that this thesis, submitted in partial fulfilment of the requirements for the award of Doctor of Creative Arts, in the Faculty of Creative Arts, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Thomas A. Fitzgerald 23rd October 2004 Acknowledgements I wish to acknowledge the invaluable support of my Supervisors, Professor Stephen Ingham and Dr. Houston Dunleavy, whose insight and wisdom illuminated my journey in this creative research project. In addition, their patience and resourcefulness remained constant throughout these demanding four years. I also received considerable technical and administrative assistance from the staff at the Creative Arts Department, especially Des Fitzsimons, Alaister Davies, and Olena Cullen. The U.O.W. Library and Research Student Centre staff at U.O.W., led by Julie King, were consistently resourceful. This research was made possible through a University of Wollongong Post Graduate Award, and I remain deeply appreciative of this financial assistance. My associate research collaborative artists, especially Lycia Danielle Trouton, and as well, Elizabeth Cameron-Dalman, Hilary Rhodes, and John Bennett, provided invaluable insight and creative inspiration. Finally, I am appreciative of the emotional and personal support of my own family-Lindy, Jessica, Alice, as well as my parents and siblings.
    [Show full text]
  • Britten in Beijing
    Boosey & Hawkes Music Publishers Limited February 2013 2013/1 Reich Radio Rewrite Britten in Beijing Steve Reich’s new ensemble work, with first performances in Included in this issue: The Britten centenary sees the composer’s drawings, resulting in a spectacular series of the UK and US in March, draws inspiration from songs by music celebrated worldwide including many animal lanterns handcrafted in Shangdong van der Aa Radiohead. works receiving territorial premieres, from Province. The production used the biblical Interview about his new 3D song through to reworkings by Stravinsky. South America to Asia and the Antipodes. tale of Noah to explore contemporary film opera Sunken Garden “It was not my intention to make anything like As an upbeat to this year’s events, the first ecological concerns. Through a series of ‘variations’ on these songs, but rather to Britten opera was staged in China with a educational projects, Noye’s Fludde provided draw on their harmonies and sometimes Noye’s Fludde collaboration between an illustration of man’s struggle with the melodic fragments and work them into my Northern Ireland Opera, the KT Wong environment and the significance of flood own piece. As to actually hearing the original Foundation and the Beijing Music Festival. mythology to both Chinese and Western cultures. songs, the truth is – sometimes you hear First staged in Belfast Zoo last summer as them and sometimes you don’t.” part of the Cultural Olympiad, Oliver Mears’s Overseas Britten highlights in 2013 include Photo: Wonge Bergmann Reich encountered the music of Radiohead production transferred in October to Beijing as territorial opera premieres in Brazil, Chile, following a performance by Jonny part of the UK Now Festival.
    [Show full text]
  • Steve Reich: Sextet, Music for Pieces of Wood, Clapping Music
    London Symphony Orchestra LSO Live Steve Reich Sextet | Clapping Music Music for Pieces of Wood LSO Percussion Ensemble Supported by Steve Reich (b 1936) Page Index Clapping Music (1972) Music for Pieces of Wood (1973) 2 Track listing Sextet (1985) 3 English notes 5 French notes LSO Percussion Ensemble 7 German notes 9 Composer biography 10 Player biographies & personnel list 12 LSO biography 1 Clapping Music 3’37’’ 2 Music for Pieces of Wood 11’42’’ Sextet 3 i. Crotchet = 192 11’08’’ 4 ii. Crotchet = 96 4’32’’ 5 iii. Crotchet = 64 2’34’’ 6 iv. Crotchet = 96 3’32’’ 7 v. Crotchet = 192 6’01’’ Total time 43’06’’ Recording supported by Recorded live in DSD 128fs, 30 October 2015 at LSO St Luke’s, London James Mallinson producer Classic Sound Ltd recording, editing and mastering facilities Neil Hutchinson for Classic Sound Ltd balance engineer, audio editor, mixing and mastering Jonathan Stokes for Classic Sound Ltd recording engineer Neil Percy and Sam Walton executive producers Clapping Music and Music for Pieces of Wood published by Universal Edition. Sextet published by Hendon Music Inc. (Boosey & Hawkes Music Publishers Ltd). © 2016 London Symphony Orchestra, London UK P 2016 London Symphony Orchestra, London UK 2 © Kevin Leighton © Kevin Introduction pulse, a pre-occupation with speaking patterns, and variation is modelled on the African bell-rhythms Reich encountered during by a process known as ‘phasing’. his studies of African drumming in Ghana, in 1970, and is ambiguous What a great pleasure for me to be involved in LSO Live’s first in that it can imply a number of possible overarching time-signatures.
    [Show full text]