Wednesday, March 28, 2012

AUDITORIUM MAXIMUM UN MAPA DE TONOS Y SONIDOS



Festival Internacional de Música de Cámara, Medellín Festicámara, bajo la dirección artística del violinista norteamericano Scott Yoo.

ESTE DOMINGO 1 DE ABRIL A LAS 3 DE LA TARDE MEDELLÍN Y EL ÁREA METROPOLITANA VIBRARÁ CON FESTICÁMAR​A DESDE EL AUDITORIUM MAXIMUM

AUDITORIUM MAXIMUM EN ALIANZA CON FESTICÁMARA – FESTIVAL INTERNACIONAL DE MÚSICA CON GRUPOS DE CÁMARA- Y LA RED DE ESCUELAS DE MÚSICA DE MEDELLÍN

Es la oportunidad para reunir, en un mismo escenario, los más destacados intérpretes del mundo con jóvenes de la red de escuelas de música de Medellín

El próximo domingo 1 de abril a las 3.00 de la tarde se presentará en el Auditorium Maximum del Colegio Alemán Deutsche Schule – Medellín la segunda versión de Medellín Festicámara.

Extendemos la invitación a este extraordinario concierto con entrada gratuita.

Las personas interesadas pueden acceder reclamando la boleta, dos horas antes de su inicio, en las instalaciones del Auditorium Maximum ubicado en el campus del Colegio Alemán. Carrera 61 Nro. 34-62 Itagüí, Colombia. Tel. (+574) 2818811 Ext. 235 – 230. auditorium@colegioalemanmedellin.edu.co www.auditoriummaximum.org.co

Medellín Festicámara es un proyecto de la Red de Escuelas de Música de la Alcaldía de Medellín, administrado por la Universidad de Antioquia.

El Auditorium Maximum cuenta con el apoyo decidio de Covitec.

Mayores informes



Friday, March 2, 2012

John Cages's Musicircus May 2006

ORIGINAL: Tate

Musicircus   May 2006
John Cage (with Marina Rosenfeld and La Monte Young), Musical Direction: Richard Bernas

John Cage invented his Musicircus in 1967 for a performance in the Stock Pavilion at the University of Illinois at Urbana-Champaign. This three-hour performance is based on compositions principally by Cage and features live and pre-recorded electronics, as well as traditional instruments. Work by Marina Rosenfeld and La Monte Young were also included in this performance of Musicircus, directed by Richard Bernas, as the original versions of the score also included works by other composers.

From the late 1940s until his death in 1992, John Cage was a central figure in the American avant-garde. He is most commonly known for his silent composition 4'33" of 1952, whose three movements are performed at a piano without a single note being played.

Cage was an early composer of what he called 'chance composition' in music, a method that influenced the radical shift in modern dance initiated by his long-term partner and collaborator, Merce Cunningham, as well as influencing and working with visual artists such as Robert Rauschenberg, Andy Warhol and Jasper Johns. Cage was well known for his non-standard use of musical instruments and his pioneering exploration of electronic music.

Cage invented his Musicircus in 1967 for a performance in the Stock Pavilion at the University of Illinois at Urbana-Champaign. This three-hour performance is based on compositions principally by Cage and features live and pre-recorded electronics, as well as traditional instruments.

The performers in this version of Musicircus – arranged for Tate Modern by Richard Bernas – range from live electronic composer/performers, including Scanner and Robert Worby, to renowned new-music specialists, among them mezzo soprano Linda Hirst and the Kreutzer String Quartet. Young ensembles from the Guildhall School of Music and Drama and Goldsmiths College, and Marina Rosenfeld – leading her infamous electric-guitar ensemble, the Sheer Frost Orchestra – also perform.

Gramophone Award-winning conductor Richard Bernas collaborated closely with Cage, performing many world and European premieres with him.


Tate Modern; The Long Weekend; 28 May 2006; John Cage, Musicircus. Turbine Hall Bridge, Marina Rosenfeld and the Sheer Frost Orchestra © Tate 2006

DESCRIPTIONS OF ACTIVITIES AND LOCATIONS

TURBINE HALL

1. East end: The Guildhall Percussion Ensemble
John Cage: Atlas Eclipticalis (1961-62)

Counting John Cage: So Percussion pays tribute at UT

ORIGINAL: austin360
By Luke Quinton

Published: Feb. 29, 2012


SPECIAL TO THE AMERICAN-STATESMAN

Of all the bizarre actions we associate with the late composer John Cage the man who made music from burning pinecones and moving water inside conch shells, who turned radio stations into instruments and composed a piece out of silence the thing we forget is that you have to count it out.

"There is that sense of a toy shop or a menagerie," says Adam Sliwinski from So Percussion, the acclaimed Brooklyn group that is about to play two different concerts next week at the University of Texas' McCullough Theatre to honor Cage's centennial.

As percussionists, Sliwinski says, "We don't have 400 years of history. We have 100 years of history."

Cage basically wrote the future of percussion music. "It's like foundation repertoire for what we do."

The percussion "lab" at UT is — as you'd expect — a very loud room. About a dozen players front a comical variety of noisemakers ("manning," because there's just one woman in the group). Gongs, marimba, bass drums, wood blocks, sirens and a piano are waiting for the baton of Thomas Burritt, UT's director of percussion studies.

The members of So Percussion are up front, watching as the students run through a piece from the 1930s by Edgard Varese. The ensemble is in residence, and playing its March dates thanks to the recent grant to UT from the Andrew W. Mellon Foundation. The grant is meant to help launch classical music into the new century, and appropriately, Varese's piece was written to anticipate the coming atomic age.

Sliwinski explains to the class what Varese was about, what's happening behind the beat. Varese, he says, "wanted to make electronic music." At the time, that was just out of reach, so he tried to make a new language of sounds, something entirely alien.

If you think "War of the Worlds," Duchamp, Robert Rauschenberg, you start to size up the creative landscape Cage was working in.

This era exploded with experimental art, and Cage, who greatly admired Varese, dedicated himself to discovering its musical possibilities. To make new sounds, he simply made new instruments.

Cage's materials are always unpredictable: crumpling paper, turntable needles, a hollowed-out tree. Anything, Cage discovered, could become music.

"It wasn't institutionally accepted like it is now," says Sliwinski. A lot of Cage's work was performed far outside the academy — at happenings and art museums.

So Percussion is at the forefront of a wave that Cage began. Champions of new music, including collaborations with pop electronica guru Dan Deacon, Sliwinski says they're taking it in their own direction.

In 1999, the idea of four graduate students emerging from school to found a percussion ensemble seemed unlikely at best.

But it didn't take long for them to gain traction, with concerts, commissions and university residencies very early on, including one at UT in 2002. It was a sign that they could make a living out of being percussionists.

"We came to UT and gave a completely insane concert of all the hardest music we knew how to play," Sliwinski says, smiling.

In those early days they got some of the highest profile commissions imaginable, from Pulitzer Prize winners David Lang of Bang on a Can and Steve Reich.

Now So Percussion is more than a decade in and established as teachers and a touring ensemble.

For their UT concerts, part of a limited spring tour that includes Toronto and Carnegie Hall, So Percussion is playing their favorite Cage music, and the music of his descendants.

At times, says Sliwinski, it's still an effort to explain how important Cage really was (and still is). "It shocks me how contemporary he feels."

Their ambassadorship continues. Online, they have a video of Cage's "Third Construction," a fiendishly complex piece with rotating rhythms that they'll play next week. Somehow they make it look easy, even memorizing their parts. The next video tells us exactly how they became so proficient: They sing it.

"The singing has helped us," Sliwinski says. They can practice without ever unpacking their instruments. Another reminder that percussionists have to be dedicated and brilliant technicians, with impeccable timing in order to pull it off.

After all, those pinecones won't burn themselves.


"We Are All Going In Different Directions: A John Cage Celebration" with So Percussion

When: 8 p.m. Tuesday and Wednesday

Where:McCullough Theatre, UT campus, 2375 Robert Dedman Drive.

Cost:$30
Information: www.texas?performingarts.org