Per Nørgård - Drømmesange - beskrivelse. Music Articles. Luciano Berio – About the Music - Universal Edition. Ihatemusic. View topic - Morton Feldman. Rallentando & Ritardando: What’s the Difference? Ever wonder about the difference between rallentando and ritardando? Well, I did….so I decided to look into it and add my two cents to the debate. =) According to the Music Dictionaries…
Performers As Co-Composers. By Andrew LeeOriginally published on I Care If You Listen I am not a governess who treats the composer like a child and tells him what he should compose.
I try to understand what he has written down. Microtonal music concerts for Chicago and the midwest. Renewable Music. Articles. In this new and somewhat turbulent era for classical music, our own personal success isn’t just about us anymore.
The old model is no longer relevant because simply having a job or being a superstar doesn’t necessarily contribute to our communities or to our art. Casual observation of the audience for jazz reveals that it is predominantly male, which also reflects the average jazz band personnel. One wonders aloud whether consumers witnessing more women on the bandstand might ever translate to an increase in women in the jazz audience. The Affordable Care Act made maternity coverage more accessible for freelance musicians. But is contemporary music—its career arcs, social scenes, traditions, and infrastructure—ready for a baby boom? You want to grow your audience, but you have limited resources, so you target your marketing efforts at the groups most likely to respond to it.
I believe that artists, more so than scientists or the religious, carry the seeds of miracle works inside them. Stravinsky Outside Russia. Leon Botstein conducting the American Symphony Orchestra.
Photo by Matt Dine (courtesy Sacks & Co.) [Ed. Note: The following is a slightly modified version of an essay, reprinted with permission, that will appear as the program note for an all-Stravinsky concert performed by the American Symphony Orchestra under the direction of Leon Botstein this Friday, January 20, 2012, at Carnegie Hall. The program will include two rarely performed compositions written during Stravinsky’s final three decades in Southern California: Canticum Sacrum and Requiem Canticles. Botstein will additionally lead a performance of Stravinsky’s most famous work The Rite of Spring, written long before he arrived in the United States, as part of the ASO’s Classics Declassified series at Symphony Space in New York City on February 26, 2012.
Adieu, Avant-Garde. The discussion following Colin Holter’s recent post, “The Urgent Needs of Now” has been rather interesting to follow as it has evolved into a question as to exactly what might constitute the current equivalent of an avant-garde movement in experimental music.
It strikes me that a new movement founded on rebelliously original experimentation might be impossible today. No matter what path of experimentation a new composer might attempt to clear, it has been previously explored at great length—generally by composers several generations removed. The ‘Woman Composer’ is Dead. It's been nearly a millenium since Hildegard von Bingen composed music.
Aren't we finally past the era when it was unusual to be a "woman composer"? (Image from the Rupertsberger Codex c.1180) The principle of utu dharma, followed by ancient mystics, is summarized in the following statement: one side can only go so far before it becomes its opposite. To my way of thinking, this idea is quite pertinent to this very specific history, that of the ‘woman composer.’ To fully understand the term ‘woman composer’ and all of the historical baggage associated with it, it’s important to be aware of hundreds of years of challenges met and overcome. I have had to overcome much hesitation before I seriously made the decision to publish a collection of short poems that I have provided with melodies.
In the 19th century, Clara Schumann wrote this in her diary (1839): Interview with John Tilbury. At the 2006 Huddersfield Contemporary Music Festival, John Tilbury performed many of Feldman’s works for piano and strings with members of the Smith Quartet.
Visiting the UK for this event, composer James Gardner, director of the contemporary music ensemble 175 East, based in Auckland, New Zealand, took the opportunity to record, and subsequently transcribe, this interview with the pianist. Interviews: tUnE-yArDs. Photos by Anna M.
Campbell tUnE-yArDs' second full-length, w h o k i l l, is the kind of record that wants to know where you stand. It is intense and striking and assembled with care, but it also refuses to slip into the background and puts its concerns directly in front of your face. It seems destined to inspire strong reactions and, as Matthew Perpetua said of tUnE-yArDs' leader Merrill Garbus in his review here, "don't be surprised if this record earns Garbus a very earnest and intense cult following. " tUnE-yArDs is a relatively new project, but Garbus has been involved in art and music for some time. Series preview - Opera & Classical. Per Noergaard - Er Per Nørgårds uendelighedsrække enestående? One may therefore ask the question whether there exist other series of numbers with the same characteristics as Nørgård's infinity series.
