News from SongFest 2017: David Conte and Juliana Hall

David ConteSongFest provides the United States’ premier art song festivals and training programs: our summer institute held each June at The Colburn School in Los Angeles and a new winter intensive at Hidden Valley in Carmel Valley. SongFest attracts an internationally distinguished roster of artist teachers as well as students from some of the nation’s top music conservatories. Audiences enjoy a vibrant concert series presented at Hidden Valley and in Colburn’s state-of-the-art venues and auditors can attend daily masterclasses and lectures led by the most exciting artists of today. As part of the 2017 festival on June 5-30, music by David Conte and Juliana Hall are included on the repertoire roster.

David Conte’s award-winning American Death Ballads will be performed by Zachary Rioux, tenor, and Jennifer Tung, piano. In addition, Conte’s Three Poems of Christina Rossetti will be performed by David Tayloe, tenor, and Liza Stepanova, piano.

Juliana HallJuliana Hall has also been named the 2017 Sorel Commission winner. Her collection When the South Wind Sings  (7 songs for soprano and piano on poems by Carl Sandburg) and will soon be available from E. C. Schirmer Music Company.

 

 

 

 

 

 

 

 

 

 

Source: SongFest

ECS Publishing Group receives Paul Revere Awards for Graphic Excellence

Established in 1964 in honor of the 200th anniversary of the first music engraving in American by the famous silversmith Paul Revere, these awards were initially given as a means of alerting the music industry to the advantages of providing the best possible publication from the viewpoint of engraving, graphic arts and production standards. Today the awards still recognize outstanding examples of graphic design, with an emphasis on usability for orchestras, educators, libraries and individuals.

ECS Publishing Group is pleased to announce receipt of two Paul Revere Awards.

Choral Music Notation
He Leadeth Me2nd Prize – Benjamin Wegner: He Leadeth Me
Engraved by J. Michael Case.

 

 

 

 

Cover Design Featuring Graphic Elements
Jazz Miniatures
2nd Prize – John Carter: Jazz Miniatures
Designed by Kristen Schade.

 

 

 

 

 

Source: NewMusicBox

Featured Recording: Jane Wang Considers the Dragonfly, music by Elena Ruehr

A delightful recording of Elena Ruher’s Chamber Works.

Elena RuehrCalled a “composer to watch” by Opera News, Elena Ruehr’s music has been performed by the Borremeo String Quartet, the Shanghai String Quartet, the Boston Modern Orchestra Project (where she was composer in residence from 2000-2005), and the Cincinnati Symphony, among others. Dr. Ruehr was a fellow at the Radcliffe Institute in 2009 and she teaches in the music department at MIT.

Click here to learn more about Elena Ruehr and her music.

Source: Albany Records: Jane Wang Considers the Dragonfly


REVIEWS:

“With a light touch, Elena Ruehr’s music grabs your attention in a ‘what’s that over there in the distance?’ sort of way. Upon a closer look, the music is a careful balance of gorgeous sonorities, descriptive themes, and vibrant rhythm.” (Endless Possibilities)

“Ruehr’s chamber music is lovely. She crafts her materials with an experienced hand, fully aware that less is more. …Well worth investigating. Ruehr’s voice is as memorable as it is gentle.” (Fanfare)

Kareem Roustom: Dutch premiere by New European Ensemble 

Oriental Landscapes is a five-city contemporary oriental music festival. The artistic vision of Oriental Landscapes reflects on the history of oriental music and searches for a common ground for the future of shared musical heritage. On the 17th of June Oriental Landscapes travels to Utrecht, and presents a mini festival in Hertz and the K.F. Hein Foyer.

The Oriental Landscapes festival presents new ensemble formations and new connections between Eastern and Western musicians. Oriental Landscapes will also introduce young artists and performers who have not appeared in the Netherlands before and premiere new compositions.

As part of the concert series, the New European Ensemble and Oriental Soloists will give the Dutch premiere of Kareem Roustom‘s Buhur for clarinet and string trio.

BuhurClick here for more information about Buhur

Source: Oriental Landscapes – TivoliVredenburg

Review of Seven Last Words by Michael John Trotta — Choral Scholar

In his famous Poetics of Music of 1939, Stravinsky observes, “A real tradition is not the relic of a past that is irretrievably gone; it is a living force that animates and informs the present.” Michael J. Trotta’s Seven Last Words is a work solidly grounded in tradition, yet incorporates a musical language that, in George Gershwin’s words, “informs the thoughts and aspirations of the people and the time.”

Musical settings for the Seven Last Words date from at least the early 16th century, and composers of many style periods have contributed, including de Lassus (16th century), Schütz (1645), Haydn (1787), Frank (1859), Dubois (1867), and MacMillan (1993), and many others. (Although, as Trotta points out, settings in English are relatively rare.) Trotta adheres to the tradition, sometimes incorporating innovations in scoring or ordering of texts introduced by previous composers.

Musically, Trotta presents a broad range of musical conventions and devices, allowing the Words to “expose a gamut of emotions…in a way that distills the most poignant moments of the human condition.” Additionally, the setting interpolates liturgical texts not contained within the traditional set, “further expanding the story and the reaction
of those present and witness to the Passion.”…

Seven Last Words… Trotta’s Seven Last Words is a composition that appeals on many levels. Te overall harmonic color is accessible, rich and varied, and one that is familiar to modern-day ears. It wouldn’t be a stretch to observe that several extended passages are reminiscent of what might be heard in a contemporary film score. At the same time, allusions to musical gestures and conventions drawn from the Western classical tradition are ubiquitous, and can only add to the appreciation of the work by those well steeped in the literature. Finally, and perhaps most importantly, the work is highly integrated, with inner logic and connections that even the general listener can appreciate.

It is important to note that the work was commissioned by churches for performance by church choirs consisting of non-professional performers with limited and varied resources. Trotta responded directly to his charge by producing a work that is appealing, adaptable, and within the capabilities of any competent ensemble. Seven Last Words is a significant achievement, a worthy participant in the choral tradition, and a welcome contribution to the literature.

To read the entire analysis of the work, click here.

Review of Lady Bird by Henry Mollicone — 21st Century Music Takes

Written by: Susan Hall – May 13, 2017
Hunter College Opera
NY Opera Fest 2017
Kaye Playhouse
New York, New York
May 12, 2017

Lady Bird: First Lady of the Land (ECS #8506)
Composed by: Henry Mollicone
Libretto by: Sheldon Harnick

Lady Bird: First Lady of the LandOur current First Lady is MIA. It is good to have a former first class occupant of the role present on stage. While the Texan Lyndon Johnson had stood before a mirror, watching and listening to himself transform the word “n******” to “Negro,” Lady Bird comfortably took to the rails with her daughters and tried to make all folks ready for true integration.
The opera begins with the swearing in of the new President on Air Force One on that fateful day in Dallas, 1963. We flashback over the First Lady’s life. As a small girl she watches a man being lynched. Projections of the Hill Country in Texas and then Virginia, South Carolina and Georgia place us in Lady Bird’s life and travels, as she takes her whistle-stop campaign tour, with the orchestra evoking the sounds of the train’s motor and woodwinds blasting an arrival notice.

The vibrant score echoes our folk music, classic and jazz, and rock as it rolls out. The Pledge of Allegiance has a lovely choral setting. Singing by the principals is distinguished. Karen Luna as Lady Bird was poignant and lyrical. George Heath was an eloquent, forceful Lyndon. Jacob January and Flora Kirou delicately created the young Lyndon and Lady Bird. Orchestration was vivid. The libretto is filled with the wit and provocation we expect of Harnick, who also created Fiddler on the Roof.
The chorus shone particularly in the final anthem which anticipates the war on poverty, the creation of a great society and the beautification of the land. In the end, the final projection spreads wide across the stage. It is filled with blue bonnets on a sunny scape and Lady Bird in a gardening bonnet smiles out at us.

Click here to read the review from 21st Century Music Takes in its entirety. 

Frankenstein by Libby Larsen — West Edge Opera

West Edge Opera, formerly Berkeley Opera, is a leading Bay Area opera company. As part of their 2017 – 2018 season, they will be staging Libby Larsen’s Frankenstein.

New archetypes aren’t minted very often, but Mary Shelley’s Frankenstein is certainly among them. Two hundred years after the publication of the novel, West Edge presents Libby Larsen’s operatic treatment with its resonant themes of ego, ambition, and the war between reason and emotion. Working with frequent collaborator Jeremy Knight, West Edge brings to fruition the technological innovations suggested in this rich score that could only be hinted at in the work’s premiere. Frankenstein is the kind of work that has become West Edge Opera’s calling card.

Frankenstein or the Modern PrometheusFrankenstein is an exploration of the intellectual ambition, technological arrogance, isolation, and the deep human need for companionship. The plot concerns a young medical student, Victor Frankenstein. Having dabbled in the taboo arts of alchemy, he succumbs to his ambition and combines his medical and alchemist skills to create a human life. Ignoring the warnings of his friends and family, he uses electricity to create a new life which he immediately repels as a monstrous, evil creation. The monster, an innocent, is cast loose and forced to survive alone. Seized by a multiplicity of sensations, it learns to distinguish and supply its basic needs for food, clothing, and shelter. Finally, it conceals itself in the dark corner of a cottage. There, by observing some cottagers, it learns to speak, to read, to love. When the monster at last approaches people in search of companionship, they repel him, even attack him. Tragically, he realizes that he is condemned to a lonely, alienated existence. He confronts Frankenstein, demanding that Victor create a monstrous mate. Frankenstein agrees, but then recants. The monster responds by causing the death of Justine, a trusted companion, and by murdering all those dear to Frankenstein: William, his younger brother; Elizabeth, the bride; and Clerval, his best friend. In the end, Victor must lead his own life lonely, wandering, isolated, half-mad, in endless pursuit of the monster. As in Shelley’s novel, the character of the explorer, Captain Robert Walton, frames both the action and thematic content of the story.

Performance Details at a Glance:
August 12, 17, 20
Duration: 1 hour, 30 minutes
Conducted by Jonathan Khuner
Directed by Matthew Ozawa

Source: Frankenstein — West Edge Opera

Stanley Hoffman – work selected by Association of Irish Choirs

Stanley M. Hoffman’s arrangement of Claude Debussy’s Beau Soir (ECS #7689 for SATB chorus and piano) has been selected by the Association of Irish Choirs for their Summer 2017 season.

 


The Association of Irish Choirs supports and promotes excellence in choral music in Ireland. They do this by providing information and advice and presenting a range of programs and activities designed to respond to the needs of our members, the wider choral community and the public.

Source: Association of Irish Choirs

Schola Cantorum on Hudson premieres music by Robert Schuneman

Schola Cantorum on Hudson (Schola), an independent non-profit organization, was founded in 1995 by Dr. Deborah Simpkin King, and performs its full concert season in both Montclair, NJ, and Manhattan.

Its members have been drawn together by a shared love of great choral music and by dedication to the highest standard of performance of that repertoire. Schola Cantorum (literally “school of singers”) has a three-part mission of:

  • Musical performance,
  • New music advocacy, and
  • Choral music education/engagement.

Now entering its third decade, Schola boasts an internationally recognized new music advocacy initiative (ProjectEncore.org), multiple ongoing education and engagement programs, an impressive history of premiere performances, and an annual tradition of artistic collaboration with young artists.

The ensemble premiered one of Robert Schuneman‘s late compositions last month: Prophecy (ECS #8445) is a setting of the Dana Gioia poem of the same name.

Source: Current Season | Schola Cantorum on Hudson

Clare Shore – commission for flute & piano

Clare Shore has been commissioned by a consortium of three USA flutists, Tammy Evans Yonce (Midwest), Cathie Apple (West Coast), and Misty Theisen (East Coast) to write a work for flute and piano.

Clare Shore, the second woman to earn the Doctor of Musical Arts degree in Composition from The Juilliard School (1984), has received critical acclaim for her works, with reviewers from the New York Times, New York Post, Boston Globe, Washington Post, and others hailing her works as “provocative” … “immensely dramatic” … “unpretentious” … “ingenious and evocative” … “intriguing” … “romantic to the core”. While at Juilliard Ms. Shore studied with David Diamond, Vincent Persichetti, and Roger Sessions, and subsequently with Gunther Schuller. Since then, she has received numerous commissions, awards, and grants, including a 1995 Composer Fellowship from the National Endowment for the Arts.


Flutist Tammy Evans Yonce, an Atlanta native, is Assistant Professor of Music at South Dakota State University where she teaches applied flute, woodwind pedagogy, and courses in musicology. She was previously on the faculty of Gainesville State College (GA), Newberry College (SC), and the University of South Carolina Aiken. An avid collaborative musician and recitalist, Dr. Yonce is an enthusiastic commissioner, performer, and teacher of new music.

Image result for Tammy Evans Yonce


Called by the Sacramento Bee a “fresh presence and welcome addition” to the Sacramento music scene, Dr. Cathie Apple is one of the founders of Citywater new music ensemble. She is a regular performer at the Music at Noon concert series, and plays with the Sacramento Baroque Soloists, Camerata Capistrano baroque ensemble, Celtic group Cahersiveen, and Kirtan band Radiant 487600_10200207703234302_923726439_n 2.jpgFriend. An avid supporter of new music, Cathie has commissioned and/or premiered many works for flute and various chamber ensembles, has collaborated with composers such as Nicholas Deyoe, Garrett Shatzer, Steve Mackey, Brent Chancellor, and Sunny Knable, and regularly performs on the Festival of New American Music in Sacramento. She also established a bi-monthly concert series featuring Citywater and guests performing recently-composed music.


Misty Theisen received degrees from the University of Southern Mississippi in Music Education (B.M.Ed.) and Flute Performance (M.M.) where she studied with Sharon Lebsack. While teaching across the southeastern United States and at Worth Abbey in West Sussex, England, she studied with internationally recognized soloists Sir James Galway, Paul Edmund Davies, and Wissam Boustany. Theisen has performed regularly with the Mobile Symphony Orchestra, Meridian Symphony Orchestra, and the Sinfonia Gulf Coast. As a soloist with a large ensemble, she has performed Cimarosa’s Concerto in G, Doppler’s Fantasie Pastorale Hongroise, and Chaminade’s Concertino. Theisen won the state level of the Music Teacher’s National Association Young Artist Woodwind Competition in 2004 and proceeded to take honorable mention at the regional MTNA competition in Louisville, Kentucky. She currently teaches at Mars Hill University.

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