Posted by Thea Derks » 1 Comment »
From Sunday, September 2 until Sunday, September 9 the Dutch city of Utrecht forms the center of the international Gaudeamus Music Week. This festival of new music is one of the main activities of Gaudeamus, an organization established by Walter Maas. Having found refuge in the Netherlands during World War II, he opened up his ‘Villa Gaudeamus’ in Bilthoven to young musicians and composers in 1945. Soon Gaudeamus not only organized concerts, lectures and discussions, but also a competition for young composers. Among the winners were Unsuk Chin and Michel van der Aa. Nowadays the winner gets € 4550 (US $ 5700) to write a work for the next edition. Director Henk Heuvelmans (1954) answers five questions…
When did you get involved with Gaudeamus Music Week?
In the early eighties, when I was studying musicology at Utrecht University, I became a frequent guest at Gaudeamus. When it appeared their librarian couldn’t tell apart a score for solo violin from one for piano and cello, I was asked to take over. This was really exciting, for new music was booming in the Netherlands: ensembles were springing up, museums featured concerts with contemporary music, Jan Wolff founded the concert hall De Ysbreker in 1982, and the government strongly supported new initiatives. Gaudeamus got to distribute most of the funding, and we worked together with over twenty organizations throughout the Netherlands, staging concerts from Maastricht and Arnhem in the South, to Groningen and Leeuwarden in the North. In 1983 we moved to Amsterdam, taking up office at the back of De Ysbreker. This was an enormous boost to our activities, for now we were in the center of the latest developments. Soon our concerts in De Ysbreker drew so many visitors that ensembles such as the Arditti’s offered to play almost for free – clearly a larger hall for modern music was needed. Thanks to Jan Wolff’s incessant fights with successive governments and city councils, this was finally realized in 2005, when Muziekgebouw aan ‘t IJ was opened by Queen Beatrix.
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Henk Heuvelmans – Photo by ISCM
Posted by Thomas Deneuville » Add Comment »
Yesterday night was the closing night of In & Around C, a participatory music and art installation by Mad Mohre, presented by the Nouveau Classical Project. One of the sets was performed by Typical Music (Todd Reynolds, Ashley Bathgate, Vicky Chow) feat. Owen Weaver, on a framework—a set of instructions for the performers—composed by the ubiquitous Patrick Grant.
See also: 5 questions to Mad Mohre | In & Around C [Video]
Posted by Arlene & Larry Dunn » 6 Comments »
In a modern world too often marked by conflicts of humanity versus nature, an exhilarating human communing with nature unfolded in the pouring rain on the fields of that most modern of landscapes, Chicago Millennium Park, on Sunday afternoon, August 26, 2012. Over 100 musicians, led by eighth blackbird and production designer Doug Perkins, performed John Luther Adams’ epic Inuksuit as they mingled with an audience of several hundred stalwart music fans.
Inuksuit at Millennium Park – Photo Larry Dunn
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Posted by Steven Berryman » 1 Comment »
It is not only complete works that are presented at The Tête à Tête Opera Festival (Riverside Studios, London) but it also offers the opportunity to works in progress to get aired publicly and David Knotts’ An Eye for an Eye: A Wild Evening with the Papin Sisters is one of those incomplete works that was presented. This was the first performance of the first seven scenes. Knotts is a British composer, a finalist in the first BBC Young Musician of the Year Composer competition, and has led a fruitful career writing for leading ensembles and soloists. His output includes operas, notably his Stormlight for W11 Opera. His sound has a strong harmonic drive, rich with melodic invention, a sensitivity to timbre and fine control of rhythm to make him an ideal composer for theatre works.
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Posted by Thomas Deneuville » 1 Comment »
Third Coast Percussion, a Chicago-based percussion ensemble, is: Owen Clayton Condon, Robert Dillon, Peter Martin, and David Skidmore.
On August 9, 2012, Third Coast Percussion performed at the Museum of Modern Art in New York as part of the Cage Centenary Celebration. The program featured music from TCP’s Cage percussion album on Mode Records (buy it here: http://goo.gl/oCCfp), and the world premiere of the collaborative, 100-composer piece that TCP is curating entitled RENGA:Cage:100.
We also talked about their iPhone App (http://goo.gl/MuPpF) and the world premiere of Augusta Read Thomas’s Resounding Earth.
For more info, visit: http://www.thirdcoastpercussion.com.
Many thanks to the MoMA for letting us shoot in their beautiful sculpture garden. Visit: http://www.moma.org.
Embedding is cool. Crediting is really cool.
Video + Editing: Thomas Deneuville
Opening animation: Daniel Thompson at DTWebart (http://www.dtwebart.com)
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On August 19, the NJO Symphony Orchestra and conductor Antony Hermus ended their three-day concert tour with a bang. Their immaculate and tempestuous performance of selections from Prokofiev’s ballet Romeo & Juliette evoked a stampede in Orpheus, Apeldoorn, a small city in the East of Holland. The cheering was even louder earlier that day, when the student orchestra played the same suite for a rock audience at the Lowlands festival. Once more, the NJO Summer Academy proved that classical music is not only for the old, but has a strong appeal to the young as well.
Emmy Storms – Photo Sanja Harris
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