1857 research outputs found
Sort by
A second box of brief candles
No full textFor solo clarinet, duration 8.5 minutes. This piece was commissioned for ‘Brief Candles’, a collaboration in devising music and dance, commissioned and produced by spnm in partnership with the Richard Alston Dance Company and the Contemporary Music Network. The commision was supported by funds from the Arts Council of England and the work was first performed in June 2007 by Stuart King (clarinet)
Transmission, transformation and replication in teacher practice: report of a case study
No full textÀ travers le verre du temps
No full textA piece for clarinet, violin, cello, piano and glass percussion, premiered at the Easter Festival of Saint-François in Lausanne on March 27, 2016 by Marco Danesi, Jana Ozolina, Christoph Croisé and Oxana Shevchenko. A recording is available at the Official URL link below
Colonialism, capitalism, and the invention of Early Music
Get PDF‘Nowhere is the connection between theoretical musicology and musical performance as close as in the field of historical performance practice’, states the author of the article ‘Musikwissenschaft’ in MGG. This paper argues that the mutual appropriation of one by the other in order first to construct a symbiotic relationship, and then to hold onto a hegemonic position as joint arbiters of what is, by any definition, a wholly artificial construction – the field called ‘Early Music’ – has been one of the more remarkable successes of the maintenance of canonicity in both the repertoire of Western music and the way it is performed. In this essay I share a few preliminary thoughts about how early music’s apparent success has been achieved and sustained, by considering some of its strategies and structures against the bigger historical and political forces that have characterised the times and societies in which the phenomenon became what it is now, specifically colonialism and 'late' capitalism. This is primarily an exercise in comparative, rather than causal history, but I also want to emphasise that ‘early music’, like all cultural production, cannot insulate itself from being deeply embroiled in the ideological spaces in which it operates
Vivaldi: 6 cello sonatas
No full textCello Sonatas by Vivaldi performed by Pieter Wispelwey (cello) and Florilegium. The Spirit of Vivaldi’s Venice If we could peek into the record and CD collections of listeners throughout the world, then we would without doubt always find at least one item by Vivaldi there, even if the owner’s taste was not specifically classically orientated. This is in itself not surprising. When we glimpse through the CD catalogues we can find more than 160 versions of Vivaldi’s ‘Four Seasons’ alone, followed by numerous recordings of various concerti for wind, string, and plucked instruments not to mention operatic and vocal works. This ‘overkill’ factor as regards certain of the more glamorous and grand works of Vivaldi has not been of assistance to the listener attempting to define a more complete view of the composer’s oeuvre. The cello sonatas on this disc have only begun to enjoy the interest of performers fairly recently due to the fact that they are intimate and more difficult to interpret than the above mentioned larger scale works: these sonatas require the performer to deal very carefully with tempi and phrasing, to switch off highly virtuoso passagework with contrasting moods of extreme cantabile delicacy all within the framework of a small ensemble
Owl songs
No full textFor soprano and 8 players, with traditional words plus texts by Emily Dickinson, Charles Baudelaire (trans. James Huneker), Alfred Tennyson, and Edward Thomas.
This piece was premiered via livestream from the Wigmore Hall, London on 27 April 2021 by Claire Booth (soprano) with the Nash Ensemble conducted by Geoffrey Paterson
Lament
No full textFor solo violin and string orchestra, duration 15 minutes. This work was commissioned by Radio France, the NFM Leopoldinium Orchestra, the New Century Chamber Orchestra, and Amsterdam Sinfonietta.
The premiere was broadcast on 16 April 2021 on France Musique, with Daniel Hope (violin and director) and the Orchestre Philharmonique de Radio France. The broadcast remains available at https://www.francemusique.fr/emissions/le-concert-de-20h/le-seigneur-des-anneaux-par-le-philhar-la-maitrise-et-le-choeur-de-radio-france-diriges-par-ludwig-wicki-93931 (Lament is introduced at 27:00)
In the bleak mid-winter [Holst arr. Turnage]
No full textArrangement by Mark-Anthony Turnage of Gustav Holst's Christmas carol with text by Christina Rossetti. Arranged for voice, harp, cello and double bass, duration 4 minutes. This arrangement was premiered on 3 December 2010 in the Purcell Room, Southbank Centre, London, by an ensemble including Gabriella Swallow (cello) and Judith Owen (voice)