1857 research outputs found
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Sir-namnar
No full textFor solo saxophone, duration 7 minutes.
The world premiere performance, given by Chema Banuls on 18 July 2013, is available on SoundCloud below
Trespass
No full textBallet, duration 25 minutes. Choreography by Alastair Marriott and Christopher Wheeldon, designs by Mark Wallinger. This work was written for the Royal Ballet’s Metamorphosis: Titian 2012 project in which contemporary artists, composers, and choreographers worked together to create dance pieces inspired by Titian paintings depicting the Diana myth. It was premiered on 14 July 2012 by the Royal Ballet at the Royal Opera House, London.
Videos about the ballets are available (via YouTube and Vimeo) on the video tab below
Texan tenebrae
No full textFor orchestra, duration 9 minutes.
This work was premiered on 21 January 2010 at the Auditorio de Tenerife, Santa Cruz de Tenerife by the London Philharmonic Orchestra conducted by Vladimir Jurowski.
A recording by the London Philharmonic Orchestra conducted by Marin Alsop is available on the London Philharmonic label (LPO–0066), see https://www.lpo.org.uk/recordings-and-gifts/73-cd-turnage-orchestral-works-volume-3.html.
For a video including rehearsal footage and an introduction to this piece by Mark-Anthony Turnage see https://www.boosey.com/podcast/Mark-Anthony-Turnage-Mark-Anthony-Turnage-Texan-Tenebrae/12889
Christmas night
No full textFrom the collection 'Three Night Carols' and written for sopranos and altos with piano (or organ). Text by the Right Reverend William Ind, former Bishop of Truro, duration 4 minutes
Hidden love song (Verborgenes Liebeslied)
No full textFor soprano saxophone and orchestra, duration 10 minutes.
This piece was premiered on 30 January 2006 by Martin Robertson (saxophone) and the London Philharmonic Orchestra conducted by Marin Alsop. This performance was recorded and is available on London Philharmonic Orchestra Recordings (LPO–0031), see https://www.lpo.org.uk/recordings-and-gifts/38-cd-turnage-orchestral-works-volume-2.html, and is also available on YouTube (see the video tab below).
A Gramophone review of the recording is available here: https://www.gramophone.co.uk/review/turnage-songs
Describing the indescribable: how people talk about new music
No full textDescribing and evaluating aesthetic objects or events which stand outside familiar genre and stylistic boundaries presents a special problem. It’s not simply the difficulty of “effing the ineffable”, of finding exactly the right term or terms to capture the nature of the subjective experience, which is after all a familiar problem in criticism. It’s more that in the contemporary arts, the intelligible link between description and evaluation we take to exist in familiar critical terms such as “graceful” and “grand” has become dysfunctional. This is shown in the frequent use of such terms as “twisted” and “perverted” in film and fiction criticism, as terms of approbation. Clearly the link here between the named quality and the associated evaluation must work in a different way. One can observe an analogous phenomenon in critical writing and in everyday discourse around contemporary art music, where novel terms such as “immersive” and “hypnotic” have spread like wildfire in recent years.
Calling on recent work in ethics and aesthetics on the nature of “thick” and “thin” terms, which tries to explicate exactly how the functions of description and evaluation are differently combined in different sorts of term, this paper will offer an explication of the way these two functions are related in a number of terms now commonly used to describe the experience of listening to contemporary music. In doing so, the author hopes to shed a little light on the changing nature of avant-garde or “cutting-edge” musical experiences, as revealed in the terms listeners now use to talk about them
Testament
No full textFor soprano and orchestra, duration 30 minutes. Cast in five movements, this work sets texts by three Ukrainian poets. It was commissioned by the Bournemouth Symphony Orchestra and the Staatskapelle Weimar and premiered on 7 November 2018 by Natalya Romaniw (soprano) and the Bournemouth Symphony Orchestra conducted by Kirill Karabits, at the Lighthouse Centre for the Arts, Poole
Seven pint-sized pieces
No full textFor violin and piano, duration 10 minutes. Titles: Nostalgia; A merry jaunt; Song without words; Vlad's vamp; A birthday chorale; Hilary's hoedown; Cleethorpes chorale. These pieces were premiered on 10 June 2017 by Vlad Maistorovici (violin) and Diana Ionescu (piano) at the Multicultural Centre of the Transylvania University, Brasov.
A YouTube video of 'A merry jaunt' is available on the video tab below
Passchendaele
No full textFor orchestra, duration 12 minutes. This work was written to commemorate the First World War, and was commissioned by the Concertgebouw in Bruges, and the CBSO Youth Orchestra and the Orange County Youth Symphony Orchestra in California. It was premiered at the Concertgebouw on 14 October 2014 by the Philharmonia Orchestra conducted by Nicholas Collon. For an interview with Mark-Anthony Turnage about this piece see https://www.boosey.com/cr/news/Turnage-interview-commemorating-Passchendaele/100459&LangID=1