This work is from a set of etudes that I'm working on that are etudes both in the sense of the systematic study of technical performative elements of music, but also studies in compositional technics. My program note is here, but better still to come and here it! Sunday night at 8p!
Wednesday, March 24, 2010
Sunday, March 21, 2010
Christopher Rogerson is a student at the Curtis Institute of Music, where he studies composition with Jennifer Higdon. He has won awards from ASCAP, the Presser Foundation, the National Foundation for the Advancement of the Arts, and the National Association for Music Education. 'Brothers' is a musical memorial to Buddhist monks executed by the Burmese army in 2007; it contrasts the bell-like tones of the temple with martial rhythm.
Charles Halka is completing coursework towards a Doctor of Musical Arts at the Shepherd School of Music; this season, his works are being performed by ONIX Ensamble, the Armonas Trio, and the saxophone and harp duo Pictures on Silence. His 'Trio' is hypotyposis of musical memories and interests, ranging across style, but striving for synthesis.
Come here these up and coming composers, Sunday, March 28th at 8 pm.
Thursday, March 18, 2010
I find myself these days thinking about the end of empires. What was it like as the Lusignan dynasty folded into itself, overcome by the ascendant Ottomans? Did the courtiers sense what was happening? What did a court composer think of his work at a time like that? Did he question his purpose in a dusty, fading outpost, forgotten by the mainland? Perhaps he slowly turned the pages of a book of music, dreaming jealously of his more fortunate predecessors, questioning the importance of music at a time like his. Or maybe he redoubled his efforts, seeing himself as a musical witness to history. My piece for this concert, "My sorrow of rare proportion," a tiny thing, is based on the medieval rondeau, more or less. "Rare proportion" is an old-fashioned way of talking about irrational rhythms (like 7 into 3, etc.) and thus refers not only to a depth of feeling but also the supple means of its portrayal. Its two kinds of material, textures as much as tunes, evolve the way empires do. Meaning, one kind of music grinds to a halt under under the weight of its own excesses, while the other slowly disappears without a trace.
Tuesday, March 16, 2010
This webpage is organized and hosted by the Istituto Centrale per il Catalogo Unico delle Biblioteche Italiane e per le Informazioni Bibliografiche in Rome, and contains images of the entire codex, as well as a great deal of information about the codex itself, if your Italian is up to it.
There are some great recordings of this repertoire out now but I thought it might be nice to start off highlighting the physicality of the codex. It is many things, a chant manuscript, a liber motetorum, and a chansonnier, but it is also quite beautiful. The time, fire and water have weathered it, certainly, but have also given its colors and clarity that much more power through contrast— in the long fight against entropy, we have at least one exquisite survivor.
More on the music within the covers and the new works counter)induction will be performing in the next few days.