COMPOSER'S CONFERENCE
Jul
29
to Aug 12

COMPOSER'S CONFERENCE

The Composers Conference, guided for nearly 50 years by Pulitzer Prize-winning composer Mario Davidovsky, offers a unique opportunity for emerging composers, professional musicians, amateur chamber players, and conservatory-level instrumentalists and singers to come together as colleagues, audience, teachers and students in an atmosphere of fertile creativity and concentrated, high-level music making.


NEW VENUE AND DATES ANNOUNCEDThe Composers Conference 2018 will take place at Brandeis University July 29-August 12, 2018. Applications for Composer Fellows, the Chamber Music Workshop, and the Contemporary Performance Institute open in January 2018.

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STOCKHAUSEN: KLANG
Apr
8
to Apr 9

STOCKHAUSEN: KLANG

KLANG

ARTISTS: Ensemble Musikfabrik Peter Veale, Heidi Mockert, Marco Blaauw, Christine Chapman, Melvyn Poore, Axel Porath Additional Musicians Stuart Gerber, Christopher Oldfather, Joe Drew, Dolph Kamper, Taka Kigawa, Lilac 94, Emma Resmini, Evan Ocheret, Geoff Deemer, Aaron Stewart, Sharon Harms, Rachel Segal, Joe Dvorak, Jeff Gavett, Robert Osborne, Mirjam Ingolfsson, Mallory Tittle, Eric Coyne, Veronica, Dominic Panunto, Sean Bailey, Audrey Miller Talks by Members of Musikfabrik, Thomas Patteson, Paul Miller, Joe Drew, Esther Morgan-Ellis Lighting by Thomas Dunn Sound Projection by Joe Drew, Dolph Kamper, Paul Jeukendrup Audience Experience orchestrated by Adrienne Mackey Print Design by Alda Leung & Jura Pintar


Karlheinz Stockhausen’s final epic, KLANG: The 24 Hours of the Day, will be presented in full by Analog Arts and Elizabeth Huston. Intended to include 24 pieces but left incomplete at the time of Stockhausen’s death, this 21-part work gives space to meditate on time, spirituality, and reality, allowing the audience to reflect on the meaning of mortality. KLANG is the final, epic statement of one of the 20th century’s most important composers. It charts the journey of the soul from the body into the afterlife, and is a fitting capstone to Stockhausen’s massive career. The music ranges from intimate chamber pieces to virtuosic displays and electronic extravaganzas. This production features performances by Cologne’s MusikFabrik, light paintings by Thomas Dunn, and sound projection by Dolph Kamper.

This piece takes place in three sections. Section one deals with the spiritual world and features performances reflecting the ascension of Christ, harps in heaven expressing the joy of Pentecost, and the door to heaven opening into the pieces of section two, which contains the music that is heard in heaven. The seven pieces of the second section, all instrumental trios, are based on the same underlying music, rearranged and re-imagined to create seven beautifully different yet increasingly familiar-sounding works. The final section takes an immediate and surprising turn towards the imagined universe of Urantia. This section begins with the only fully electronic piece, Cosmic Pulses, and then dives into pieces based on the Urantia book, a mysterious text which appeared in the early 20th century with no known author. This book describes unknown universes, each planet of which is represented by an electro-acoustic performance in the second section.


KLANG in its entirety has a 14-hour time span. It is recommended that audience members stay for the full day to experience the piece. Scholars will be present to answer questions and foster conversation, musicians and researchers will give lectures, and visitors will be invited to visit stations for further reading and listening. If full-day attendance is impossible, this performance has four curated collections of pieces featuring parts of each of the three sections. In this way, a sampling of the full work can be experienced in a handful of hours.

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STOCKHAUSEN: KLANG
Apr
7
to Apr 8

STOCKHAUSEN: KLANG

KLANG

ARTISTS: Ensemble Musikfabrik Peter Veale, Heidi Mockert, Marco Blaauw, Christine Chapman, Melvyn Poore, Axel Porath Additional Musicians Stuart Gerber, Christopher Oldfather, Joe Drew, Dolph Kamper, Taka Kigawa, Lilac 94, Emma Resmini, Evan Ocheret, Geoff Deemer, Aaron Stewart, Sharon Harms, Rachel Segal, Joe Dvorak, Jeff Gavett, Robert Osborne, Mirjam Ingolfsson, Mallory Tittle, Eric Coyne, Veronica, Dominic Panunto, Sean Bailey, Audrey Miller Talks by Members of Musikfabrik, Thomas Patteson, Paul Miller, Joe Drew, Esther Morgan-Ellis Lighting by Thomas Dunn Sound Projection by Joe Drew, Dolph Kamper, Paul Jeukendrup Audience Experience orchestrated by Adrienne Mackey Print Design by Alda Leung & Jura Pintar


Karlheinz Stockhausen’s final epic, KLANG: The 24 Hours of the Day, will be presented in full by Analog Arts and Elizabeth Huston. Intended to include 24 pieces but left incomplete at the time of Stockhausen’s death, this 21-part work gives space to meditate on time, spirituality, and reality, allowing the audience to reflect on the meaning of mortality. KLANG is the final, epic statement of one of the 20th century’s most important composers. It charts the journey of the soul from the body into the afterlife, and is a fitting capstone to Stockhausen’s massive career. The music ranges from intimate chamber pieces to virtuosic displays and electronic extravaganzas. This production features performances by Cologne’s MusikFabrik, light paintings by Thomas Dunn, and sound projection by Dolph Kamper.

This piece takes place in three sections. Section one deals with the spiritual world and features performances reflecting the ascension of Christ, harps in heaven expressing the joy of Pentecost, and the door to heaven opening into the pieces of section two, which contains the music that is heard in heaven. The seven pieces of the second section, all instrumental trios, are based on the same underlying music, rearranged and re-imagined to create seven beautifully different yet increasingly familiar-sounding works. The final section takes an immediate and surprising turn towards the imagined universe of Urantia. This section begins with the only fully electronic piece, Cosmic Pulses, and then dives into pieces based on the Urantia book, a mysterious text which appeared in the early 20th century with no known author. This book describes unknown universes, each planet of which is represented by an electro-acoustic performance in the second section.


KLANG in its entirety has a 14-hour time span. It is recommended that audience members stay for the full day to experience the piece. Scholars will be present to answer questions and foster conversation, musicians and researchers will give lectures, and visitors will be invited to visit stations for further reading and listening. If full-day attendance is impossible, this performance has four curated collections of pieces featuring parts of each of the three sections. In this way, a sampling of the full work can be experienced in a handful of hours.

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ARGENTO ENSEMBLE @ LEX 54: WINTER DREAMS
Dec
5
7:30 PM19:30

ARGENTO ENSEMBLE @ LEX 54: WINTER DREAMS

WINTER DREAMS 

HUGO WOLF / GÉRARD GRISEY Wolf Songs (1997) for voice and ensemble  +US premiere
SANG SONG - Scars (2017) for ensemble  *world premiere
BÉLA BARTÓK - Romanian Folk Dances (1915) for violin and piano
DU YUN - When a Tiger Meets a Rosa Rugosa (2013) for violin and piano
TAYLOR BROOK - Arrhythmia (new version 2017)  *world premiere
 

Sharon Harms, soprano
Ken Hamao, violin
Euntaek Kim, piano
with the Argento Ensemble under Michel Galante

 

At the end of his life, Gérard Grisey, an iconic figure in modern music, turned his attention to the dark and mystical songs of Hugo Wolf. Argento’s final concert of 2017 highlights works by composers inspired by previous musical compositions, transforming them into new works that are a reflection of their time, that reveal their own compositional voice. Alongside three exciting works by New York composers Sang Song, Du Yun and Taylor Brook, Argento will be joined by soprano Sharon Harms in Wolf Songs by Gérard Grisey, the iconic spectral French avant-garde composer who found in his penultimate work an unlikely source of inspiration in the 19th-century Austro-Slovene composer Hugo Wolf. Grisey orchestrates four of Hugo Wolf’s expressionistic lieder with forbidding texts of Eduard Mörike, creating four dark meditations on religion, nature, and time.

Two Asian American composers will be featured in this program. Argento will perform the world premiere of Korean American composer Sang Song’s Scars, a work that highlights the effects of post-traumatic stress syndrome that includes the experience of mourning, embodied by tragic musical quotations from Verdi’s Otello. For portions of this work, the audience will have the option of hearing processed sounds through headphones distributed at the performance. In her duet for violin and piano, When a Tiger Meets a Rosa Rugosa,” Pulitzer Prize winning Chinese American composer Du Yun transforms the poem “In me, past, present, future meet” by the war-damaged British poet Siegfried into a wordless vocalise.

Early in the 20th century, Hungarian composer Béla Bartók devotedly traveled to remote villages of Transylvania to make the first outdoor field recordings of folk music, which he admired for its robust expressive power. Using seven of these recordings, Bartok composed his Romanian Folk Dances, presenting them to audiences within a classical concert framework that adds many levels of nuance and color to the original songs. Audience will hear the original field recordings before Argento's performance of Bartok’s concert settings of these vernacular discoveries.
The program ends with Taylor Brook’s Arrhythmia, a musical re-imagining of the first movement of Mahler’s 9th Symphony. Brook asked himself what Mahler would have done if he were to write this piece today, and wrote a microtonal string quartet of which James Oestreich of the New York Times calls “gripping from the outset and engrossing throughout.” Argento will give the premiere performance of this quartet in an expanded version scored with percussion.

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2017 WELLESLEY COMPOSER'S CONFERENCE
Jul
23
to Jul 30

2017 WELLESLEY COMPOSER'S CONFERENCE

The Composers Conference, guided for nearly 50 years by Pulitzer Prize-winning composer Mario Davidovsky, offers a unique opportunity for emerging composers, professional musicians, amateur chamber players, and conservatory-level instrumentalists and singers to come together as colleagues, audience, teachers and students in an atmosphere of fertile creativity and concentrated, high-level music making.

Mario Davidovsky, Director
Eric Wubbels and Yu-Hui Chang, Guest Composers 2017
James Baker, Music Director Conference Ensemble

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