The dems have a composer in residence next week!David Amram
http://tinyurl.com/5arppz
Hear some solo horn music of Amram's here with Eric Ruske.
Showing posts with label composer news. Show all posts
Showing posts with label composer news. Show all posts
Friday, August 22, 2008
Composer news
The dems have a composer in residence next week!David Amram
http://tinyurl.com/5arppz
Hear some solo horn music of Amram's here with Eric Ruske.
Monday, April 07, 2008
R3s34ch
I've just had a breakthrough uncovering relatives of Johann Sebastian Bach. It turns out there were more children and relatives of the great master in the US.Thanks to Elinor Frey for discovering:
L.O.L. Bach (Loretta Oprah Lorraine) "Laughing Daughter"
O.M.G. Bach (Otto Michael Gottfried) "Pious son"
W.T.F. Bach (Wilhelmine Trombette Friederica) "Inquisitive daughter"
There turns out other relatives included:A.F.K. Bach (Alfred Friedrich Koppel) "Composed away from the clavier"
B.F.F. Bach (Bartholomew Friedemann Francis) "Trusted friend"
B.R.B. Bach (Brunnhilde Rachel Barbara) "The travelling sister"
B.W.V. Bach (Baptiste Wilhelm Viet) "Genealogical brother"
C.Y.A. Bach (Catharina Yetta Augusta) "Much adieu daughter"
N.O.O.B. Bach (Noah Oren Ornette Bernhard) "Unexperienced cousin"
D.0.0.D. Bach (Dietrich something something Donner) "City slicker whose middle initals appear to be zeros"
P.W.N. Bach (Phillip Wotan Nicholas) "Wealthier and arrogant uncle"
S.N.A.F.U. Bach (Sebastian Nibelung Altnikol Froh Ubung) "Always wrong bungling cousin"
T.E.H. Bach (Theodore Edward Hermann) "The dyslexic brother"
There is more advice here if you run across these or other composers in concert and want to txt someone! Also, Dr. Dick's out of sight car! And you can always have a laugh with our friend Peter Schickele at the PDQ Bach website!
Saturday, July 28, 2007
Artist Spam
What if composers phished and spammed?!
Matt Orchestra
Fax : +1 800 CHA MBER (242-6237)
e-mail : mattorchestra@bigmusicfestival.org
Dear Sir,
I have picked-up courage and trust to forward this letter with divine confidence that you are a reliable and honest person who will be capable to handle this important business proposal believing also that you will never let me down either now or in the future. I am Matt Orchestra a private audio consultant with the Big Music Festival. There is a world premiere from 1997 and since 1998 nobody has performed this work, it has been dormant thereafter.
After going through mp3s and cds, I discovered that if I do not remit this score out urgently it would be forfeited as an unserviceable / dormant piece. The composer of this work was the late Dr. Norbert Lionel Hamden Berlioz El Captain, a serialist, he was an associate concertmaster at Kruger Gold Chamber Players, a waiter by profession, and he died 2003 in a plane crash. No one is believed to have any knowledge or details of these scores since they remained dormant after his death.
From my findings during auditioning at the end of last season, the deceased did not leave a will and no indication of a next of kin and as such has no beneficiary and my investigation proved to me last employers' does not have knowledge of these scores which is total sum of nineteen ballets, symphonies and piano works.
I wish to transfer these scores into a safe foreign program or series. I am contacting you based on the fact that you are a musician because the tuning of this score will only be approved for performance to a 20th century specialist. I know that this proposal will come to you as a surprise as we don't have fore knowledge of each other. I therefore implore that you treat this as important as can be to enable us achieve the performance of the scores.
However, I got your contact from a trade consultant here at the Festival, though I did not disclose the purpose of my seeking for a second performance to the consultant. I have involved a very senior official in the programming department of my establishment, and we have agreed that after the score selection into your designated series, you shall be entitled to 50% more attendance.
All necessary precautions have been taken to ensure a risk free situation on the side of both parties. Please note that this deal can only take place on the following conditions:
1. You will provide the arts series/program and other relevant particulars information for easy and onward performance of the scores.
2. Absolute tuning and sincerity will be required and guaranteed, considering our positions in the festival.
3. Assurance that our recording will be released to us in good faith when these scores finally gets onto your program.
From my estimates, this transaction will be within 10 rehearsal days as soon as we hear from you. Please treat with utmost confidentiality.
Expecting your immediate response.
Yours musically,
Mr. Matt Orchestra
Matt Orchestra
Fax : +1 800 CHA MBER (242-6237)
e-mail : mattorchestra@bigmusicfestival.org
Dear Sir,
I have picked-up courage and trust to forward this letter with divine confidence that you are a reliable and honest person who will be capable to handle this important business proposal believing also that you will never let me down either now or in the future. I am Matt Orchestra a private audio consultant with the Big Music Festival. There is a world premiere from 1997 and since 1998 nobody has performed this work, it has been dormant thereafter.
After going through mp3s and cds, I discovered that if I do not remit this score out urgently it would be forfeited as an unserviceable / dormant piece. The composer of this work was the late Dr. Norbert Lionel Hamden Berlioz El Captain, a serialist, he was an associate concertmaster at Kruger Gold Chamber Players, a waiter by profession, and he died 2003 in a plane crash. No one is believed to have any knowledge or details of these scores since they remained dormant after his death.
From my findings during auditioning at the end of last season, the deceased did not leave a will and no indication of a next of kin and as such has no beneficiary and my investigation proved to me last employers' does not have knowledge of these scores which is total sum of nineteen ballets, symphonies and piano works.I wish to transfer these scores into a safe foreign program or series. I am contacting you based on the fact that you are a musician because the tuning of this score will only be approved for performance to a 20th century specialist. I know that this proposal will come to you as a surprise as we don't have fore knowledge of each other. I therefore implore that you treat this as important as can be to enable us achieve the performance of the scores.
However, I got your contact from a trade consultant here at the Festival, though I did not disclose the purpose of my seeking for a second performance to the consultant. I have involved a very senior official in the programming department of my establishment, and we have agreed that after the score selection into your designated series, you shall be entitled to 50% more attendance.All necessary precautions have been taken to ensure a risk free situation on the side of both parties. Please note that this deal can only take place on the following conditions:
1. You will provide the arts series/program and other relevant particulars information for easy and onward performance of the scores.2. Absolute tuning and sincerity will be required and guaranteed, considering our positions in the festival.
3. Assurance that our recording will be released to us in good faith when these scores finally gets onto your program.
From my estimates, this transaction will be within 10 rehearsal days as soon as we hear from you. Please treat with utmost confidentiality.
Expecting your immediate response.
Yours musically,
Mr. Matt Orchestra
Thursday, March 08, 2007
Congrats
Classical news - Composer news - Chamber Music news
“Static,” a chamber music work by American composer Sebastian Currier, has earned the 2007 University of Louisville Grawemeyer Award for Music Composition.
The name of the six-movement piece for flute, clarinet, violin, cello and piano reflects “different meanings of the word ‘static,’ which can be a state of quiet balance or the erratic noise between radio stations,” said Marc Satterwhite, a UofL music professor who directs the music award.
“This emotionally complex work explores a huge range of instrumental color within a fairly small ensemble,” Satterwhite said.
Currier, who teaches at Columbia University, studied at the Manhattan and Julliard schools of music. His winning work was commissioned by Copland House of Cortlandt Manor, N.Y., for its resident ensemble, Music from Copland House, with funds from Meet the Composer, a national organization supporting new works by composers.
The ensemble premiered the piece at Columbia’s Miller Theatre in February 2005 and recorded it for Koch International Classics. The work, named winner of the 21st Grawemeyer music prize at a UofL Symphony Orchestra and Wind Symphony concert today in Carnegie Hall, was selected from among 153 nominations worldwide.
About Sebastian Currier
Sebastian Currier’s music has been called “music with a distinctive voice” by the New York Times and “lyrical, colorful, firmly rooted in tradition but absolutely new” by the Washington Post.
A faculty member at Columbia University, Currier lives in Manhattan. He taught at Julliard School of Music from 1992 to 1998 and holds a doctorate in musical arts from Julliard, where he studied with American composer Milton Babbitt.
Currier grew up in a musical family, born in Huntingdon, PA. His mother, Marylin, and his brother, Nathan, are also composers. His father, Robert, was a violist and string teacher.
In 2005, the Berlin Philharmonic presented a full evening of Currier’s chamber music. Last year, he returned to Berlin for the premiere of his work “Broken Minuets,” performed by harpist Marie-Pierre Langlamet and the Oriol Ensemble.
His “Microsymph,” described as a large-scale symphony squeezed into only 10 minutes, was commissioned by the American Composer Orchestra and premiered at Carnegie Hall in New York. The piece, recorded by Frankfurt Radio Orchestra, has been performed by the San Francisco Symphony, Gewandhaus Orchestra, Eos Orchestra and National Symphony Orchestra.
“Aftersong,” a piece he wrote for violinist Anne-Sophie Mutter, has been performed at Carnegie Hall, Symphony Hall in Boston, the Barbican in London and Grosses Festspielhaus in Salzburg.
Currier also has written works using electronic media and video, including “Nightmaze,” a multimedia piece filled with images of strange road signs that loom up along a dark highway. A compact disc of his string quartets recorded by the Cassatt Quartet causes listeners to “think about music itself,” said a New York Times critic.
Among his other compositions are “Verge,” “Crossfade,” “Scarlatti Cadences and Brainstorm,” “Remix,” “Quiet Time” and “Night Mass.”
Currier has received several prestigious music awards, including the Berlin Prize, Rome Prize and an academy award from the American Academy of Arts and Letters. He has held fellowships with Guggenheim and National Endowment for the Arts and residencies with two of the nation’s foremost artist colonies, McDowell and Yaddo.His works are published by Carl Fischer in New York.
“Static,” a chamber music work by American composer Sebastian Currier, has earned the 2007 University of Louisville Grawemeyer Award for Music Composition.The name of the six-movement piece for flute, clarinet, violin, cello and piano reflects “different meanings of the word ‘static,’ which can be a state of quiet balance or the erratic noise between radio stations,” said Marc Satterwhite, a UofL music professor who directs the music award.
“This emotionally complex work explores a huge range of instrumental color within a fairly small ensemble,” Satterwhite said.
Currier, who teaches at Columbia University, studied at the Manhattan and Julliard schools of music. His winning work was commissioned by Copland House of Cortlandt Manor, N.Y., for its resident ensemble, Music from Copland House, with funds from Meet the Composer, a national organization supporting new works by composers.
The ensemble premiered the piece at Columbia’s Miller Theatre in February 2005 and recorded it for Koch International Classics. The work, named winner of the 21st Grawemeyer music prize at a UofL Symphony Orchestra and Wind Symphony concert today in Carnegie Hall, was selected from among 153 nominations worldwide.
About Sebastian Currier
Sebastian Currier’s music has been called “music with a distinctive voice” by the New York Times and “lyrical, colorful, firmly rooted in tradition but absolutely new” by the Washington Post.
A faculty member at Columbia University, Currier lives in Manhattan. He taught at Julliard School of Music from 1992 to 1998 and holds a doctorate in musical arts from Julliard, where he studied with American composer Milton Babbitt.
Currier grew up in a musical family, born in Huntingdon, PA. His mother, Marylin, and his brother, Nathan, are also composers. His father, Robert, was a violist and string teacher.
In 2005, the Berlin Philharmonic presented a full evening of Currier’s chamber music. Last year, he returned to Berlin for the premiere of his work “Broken Minuets,” performed by harpist Marie-Pierre Langlamet and the Oriol Ensemble.
His “Microsymph,” described as a large-scale symphony squeezed into only 10 minutes, was commissioned by the American Composer Orchestra and premiered at Carnegie Hall in New York. The piece, recorded by Frankfurt Radio Orchestra, has been performed by the San Francisco Symphony, Gewandhaus Orchestra, Eos Orchestra and National Symphony Orchestra.
“Aftersong,” a piece he wrote for violinist Anne-Sophie Mutter, has been performed at Carnegie Hall, Symphony Hall in Boston, the Barbican in London and Grosses Festspielhaus in Salzburg.
Currier also has written works using electronic media and video, including “Nightmaze,” a multimedia piece filled with images of strange road signs that loom up along a dark highway. A compact disc of his string quartets recorded by the Cassatt Quartet causes listeners to “think about music itself,” said a New York Times critic.
Among his other compositions are “Verge,” “Crossfade,” “Scarlatti Cadences and Brainstorm,” “Remix,” “Quiet Time” and “Night Mass.”
Currier has received several prestigious music awards, including the Berlin Prize, Rome Prize and an academy award from the American Academy of Arts and Letters. He has held fellowships with Guggenheim and National Endowment for the Arts and residencies with two of the nation’s foremost artist colonies, McDowell and Yaddo.His works are published by Carl Fischer in New York.
Great expectations
Interviewed a charming composer yesterday at WITF who lives in our listening area, James Brody.
[photo by Andrew Gena]
And the production of new Composing Thoughts are underway - the new season starts Sunday March 25th, with Michael Torke.
[photo by Andrew Gena]
Tuesday, March 06, 2007
Coming soon!
This is most excellent!
From a release from Molly Sheridan:
BROADCASTING THE MUSIC COMMERCIAL RADIO TRIED TO HIDE FROM YOU:AMERICAN MUSIC CENTER LAUNCHES ADVENTUROUS INTERNET RADIO STATION ON MARCH 16
EXCLUSIVE: Meredith Monk and Björk in the studio together for the first time
New York, NY - The American Music Center is pleased to announce the launch of Counterstream Radio (counterstreamradio.org), a showcase for new music by United States composers, on March 16 at 3 p.m. EST.
To mark the official station launch, Counterstream Radio will broadcast an exclusive conversation between two extraordinary vocal artists: Meredith Monk and Björk.
It was during her days playing drums in an Icelandic punk band that the then 19-year-old Björk first heard Monk's Dolmen Music and was entranced. Years later, after she covered Monk's "Gotham Lullaby" on a world tour with the Brodsky Quartet, the two women struck up a correspondence, but they never had the opportunity to meet in person. Never, that is, until the American Music Center invited them into the studio to record this special presentation, hosted by pianist and radio producer Sarah Cahill.
Monk, the pioneering songstress whose multifaceted performance art has captivated audiences for two generations, and Björk, the Icelandic pop star who has become the darling of "serious" composers and critics everywhere, compare their working processes and their inspirations for creating such unique music for the human voice during this hour-long program of conversation and music.
Following this debut broadcast on March 16, listeners will be able to tune in to Counterstream Radio and hear influential music of many pedigrees 24 hours a day. Drawing from the American Music Center's substantial recordings library, the station will stream programming remarkable for its depth and eclecticism-including the works of composers such as Elliott Carter, John Cage, Bill Frisell, Kid 606, Abbey Lincoln, Milton Babbitt, Philip Glass, Morton Feldman, Laurie Anderson, and hundreds more.
Counterstream radio is supported in part by a major grant from the New York State Music Fund, an innovative program created by the Office of the New York State Attorney General to make contemporary music of all genres more available and accessible to diverse audiences and communities within New York State. The fund grew out of settlements with major recording companies investigated for violating state and federal laws prohibiting "pay for play" (also called "payola").
Links to Counterstream Radio
http://www.counterstreamradio.org
http://www.live365.com/stations/amcenter
From a release from Molly Sheridan:
BROADCASTING THE MUSIC COMMERCIAL RADIO TRIED TO HIDE FROM YOU:AMERICAN MUSIC CENTER LAUNCHES ADVENTUROUS INTERNET RADIO STATION ON MARCH 16
EXCLUSIVE: Meredith Monk and Björk in the studio together for the first time
New York, NY - The American Music Center is pleased to announce the launch of Counterstream Radio (counterstreamradio.org), a showcase for new music by United States composers, on March 16 at 3 p.m. EST.
To mark the official station launch, Counterstream Radio will broadcast an exclusive conversation between two extraordinary vocal artists: Meredith Monk and Björk.
It was during her days playing drums in an Icelandic punk band that the then 19-year-old Björk first heard Monk's Dolmen Music and was entranced. Years later, after she covered Monk's "Gotham Lullaby" on a world tour with the Brodsky Quartet, the two women struck up a correspondence, but they never had the opportunity to meet in person. Never, that is, until the American Music Center invited them into the studio to record this special presentation, hosted by pianist and radio producer Sarah Cahill.
Monk, the pioneering songstress whose multifaceted performance art has captivated audiences for two generations, and Björk, the Icelandic pop star who has become the darling of "serious" composers and critics everywhere, compare their working processes and their inspirations for creating such unique music for the human voice during this hour-long program of conversation and music.
Following this debut broadcast on March 16, listeners will be able to tune in to Counterstream Radio and hear influential music of many pedigrees 24 hours a day. Drawing from the American Music Center's substantial recordings library, the station will stream programming remarkable for its depth and eclecticism-including the works of composers such as Elliott Carter, John Cage, Bill Frisell, Kid 606, Abbey Lincoln, Milton Babbitt, Philip Glass, Morton Feldman, Laurie Anderson, and hundreds more.
Counterstream radio is supported in part by a major grant from the New York State Music Fund, an innovative program created by the Office of the New York State Attorney General to make contemporary music of all genres more available and accessible to diverse audiences and communities within New York State. The fund grew out of settlements with major recording companies investigated for violating state and federal laws prohibiting "pay for play" (also called "payola").
Links to Counterstream Radio
http://www.counterstreamradio.org
http://www.live365.com/stations/amcenter
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