May 31 Core Ensemble Arrives in Ann Arbor.
June 1 -10 Rehearsal dates
June 1 Joe Gifford arrives in Ann arbor 230 pm
June 2 Maria, Tim, Winston, Amy arrives in Ann Arbor
June 2 Steve arrives in Ann Arbor for the evening meeting
Steve leaves after 330 pm on the 7th misses 8th 9th
but back on the 10th
Anne leaves on the 10th
|June 2-Sunday||June 3-Monday||June 4-Tuesday||June 5-Wednesday|
|10 am-1230 pm||movement||movement||movement||movement|
|130-330 pm||individual session||individual session||individual session||individual session|
|330-530 pm||meeting||group rehearsal||group rehearsal||group rehearsal|
June 6 Joe Gifford Leaves for Boston 12 pm [leave for airport at 930
|June 6-Thursday||June 7-Friday||June 8-Saturday||June 9-Sunday|
|10 am-12 pm||Free||group rehearsal||free||free|
|12-2 pm||meeting||lunch meeting||chamber groups||chamber groups|
|2-5 pm||Group Rehearsal||Group Rehearsal||chamber groups||chamber groups|
|June 10-Monday||June 11-Tuesday||June 12-Wednesday||June 13-Thursday|
|10-12 pm||group rehearsal||chamber groups||picasso groups||free|
|12-2 pm||meeting||picasso groups||Picasso Groups||free|
|2-5 pm||Pictures||picasso groups||picasso Groups||free|
June 12 Chris Leaves for Dublin
June 13 Picasso Concert in Ann Arbor Museum
Matthew Ardizzone, Guitar [status confirmed]
Eli Shapiro, Percussion [status unconfirmed]
Anthony Stoops, Bass [status unconfirmed]
Erik Santos [canceled]
Leslie Bassett [thinking]
Evan Chambers [thinking]
David Schober [Would like to but can't]
Carter Pann [Would like to but can't]
Gabriela Frank [Would like to but can't]
Kevin Korsyn [Would like to but can't]
Osvaldo Golijov [Would like to but can't]
Felicia Sandler [Would like to but can't]
So here are my thoughts. I really really would love to do the Hindemith Die junge Magd--can't we bill ourselves as fresh ink and dusty pages? It's such a gorgeous piece, and it hardly ever gets done. It's scored for flute cl. and st. qtet, as well as mezzo. Other possibilities I would like to do are the Mirabai songs (I know, way popular, but they're really fun and beautiful), or Kevin's piece[Wandlebury Ring String Quartet and Mezzo]. It's hard to make a decision on that, since I don't have the music, though. I hate to say I can sing it without having seen the notes or the text (it's hard to understand the text as sung). Do you have a score? And what's that spoken word segment at the beginning of the CD? Does that belong to it?
As far as solo pieces, I could do Berio Sequenza III again, though it's not all that new, and it's done a lot. I also have a 5 or so minute piece by Jeff Lependorf (a NY-Columbia grad-composer) for solo mezzo that's pretty nice, based on an Elizabeth Bishop sestina--that's from the mid 80s sometime, and I doubt it's ever been done more than once, if that, though I could be wrong. It's not as exciting as the Berio, but then, not much is. And for pieces with one other member of the ensemble, I have a William Sydeman duet for cello and soprano (singable by mezzo) which is ok, though I must say I'm not choosing from a huge repertoire here. I'd rather do the Hindemith and the Mirabai as my ensemble pieces,--neither use the whole group, but they use a portion of them. ( you could also talk me into the HIndemith and the Beavers, or, if need be, if you're reaaaaaalllly against the HIndemith, I could do the Mirabai and the Beavers.
The other possibility is doing Walrus [Tom Schnauber] again, if we have Anthony and Eli joining us, but that would depend. I'd like to give that another shot.--see if I can get a few more chuckles.
So, those are my thoughts. Sorry it's not more organized, or definite.
As for rep---I'd like to do a portion of Kurtag's Kafka Fragments for violin and voice. The whole thing is quite long but the piece is in three or four sections which could fit very nicely into a program. As for solo works, I'd always be happy to play the Bacewicz solo sonata that I just did last week in Ann Arbor. It's readily in my fingers and I can call it up on short notice. I still think it would be great to do a quartet like Penderecki or Lutoslawski. I'm going to continue thinking and researching, however and will get back to you with more ideas....
I have found a duet for violin and clarinet by Claude Vivier. It is short though. Maybe me and Alejandra could play it. I have also been in touch with the canadian music center. I can get you pretty much any music by a canadian composer that there are parts for. The problem will be for the bigger pieces that require a rental for the parts. I can get you the scores for a two month period, they will send them to me and then I can get them to you even before the residency. Check out www.musiccentre.ca . and let me know.
I also have a shorter piece be Jaques Hetu another prominent
canadian composer. Please let me know about the other projects you want
my involvment with so I can try and get on top of the music as my plate
is going to be really full.
I am really psyched this is going to happen..!!!!!!!!!!!!!!!!!!!!!
The new residency dates work for me, but I would have to arrive a little late (Sun., June 2nd in the early afternoon). Since the Picasso concert is on the 13th, I might just stay until then - but I'll have to see.
Do you know what dates may be possible for some of those mini-residencies next year?
I was fortunate enough to have won 1st place in the Orleans Concours International (for 20th-century piano music), so will be playing overseas quite a bit next year - particularly Jan-Feb. - so I want to try to avoid any possible conflicts now, as not everything has been confirmed yet.
As one of the prizes for the competition, I have a recording contract - so I'd love to play something that I will record, as that repertoire will be what I'll be performing next year in some of the recitals. I have to wait and see - the production company has to approve a program, and that will be what I use throughout the year.
Carter Pann is writing a piano trio soon - that could be a possibility. Bolcom also has a recent piano quartet (for piano, violin, cello, clarinet) that I think he wrote for my former teacher (Pressler, Beaux Arts Trio, and Stoltzman) that could be lots of fun - particularly if we can coach with him.
This is a bit of a self-centered suggestion :) Ligeti concerto - if there is percussion in the group. Problem - there's a few brass players needed - so it may not work.
Also, maybe some of those Nancarrow transcriptions we had talked
hi chris - i sent you a suggestion about those kaija saariaho pieces - i
think that the one with two voices would be excellent for the residency,
since it's probably too hard to do otherwise. it's a lovely piece...
so, again - grammaire des reves is scored for soprano, mezzo, 2 fl (we
could see if susie would be intersted, although i suppose that interfeares
with the small residency - unless we just wanted to do this piece for the
festival), hp, vla, vc and CONDUCTOR :) if we would like to do this, i
would need to start looking for the music ASAP... the other cool pieces
that I foudn are ADJO for sop., fl and guitar and Die Aussicht for
sporano, fl, guit, vl and vc. these would work if matthew is part of the
there seem to be a lot of cello pieces alreeady suggested, i have a solo
cello piece by mark kilstofte, from the call for the scores. he seems to
be making a name for himself, so he might be a very valuable contact...
and the piece is great.
East Wind for Solo Flute by Shulamit Ran
Duo for Flute & Clarinet by David Liptak
Mountain Songs for Flute & Guitar by Robert Beaser (if Matthew is going to
Song of the Lark for Flute & Harp by Charles Rochester Young
Tyvek Wood for Flute, Viola, & Harp by Bruce Broughton (way cool!)
I'll also second Jennifer's vote for the Pierrot and Stravinsky.
I hope that's sufficient! Let me know if you'd like additional
Let the Air Circulate[Andrew Mead] (only solo piece I know, and I want to use it alot)
Two songs by student comp. Matt Tommasini for harp and voice, in spanish --
I've done them before, and they're gorgeous
Four Stravinsky songs (voice, flute, guitar, harp)
Pierrot lunaire or Schoenberg 2nd string quartet
OR maybe some Elliot Carter?
Now, just to complicate things, I'll have rehearsals every night of
residency, since my show is going up on the 13th. So I hope we're thinking
Chris Kim suggestions
Osvaldo Golijov Lullaby and Doina
for fl, cl, vln, va, vc, cb
UE70047 7 minutes
for soprano and string qt or strings
text by Castro Rosalia de 7 minutes
International Gaudeamus Interpreters Competition 2003
The International Gaudeamus Interpreters Competition 2003 will take place from 23 February to 2 March. The Competition is open to all instrumental and vocal soloists, duos and ensembles up to twelve performers (excluding conductor).
A jury consisting of five internationally well-known musicians will judge the performances.
Special theme of the competition is improvisation.
The competition is organized in cooperation with the Rotterdam Conservatory,
in the framework of the third Rotterdam Music Biennial.
1. The Interpreters Competition is open to soloists or duo-members born
after 2 March 1967;
For ensembles the average age of the group members must not exceed 35 years. For vocalists the maximum age is 40.
2. The submitted program should include at least six compositions with
a total duration of at least 60 minutes. At least two compositions must
be written using the traditional staff notation. Although all compositions
must have been written after 1940, we would appreciate if one extra work
is added which was written between 1900 and 1940. At least three of the
compositions must have been written in or after 1990. At least two compositions
must be by a Dutch composer, or a composer residing in the Netherlands.
Next to the normal prizes in the competition, there is a special improvisation prize. Please check www.gaudeamus.nl for updates and guidelines for the special theme
For more information on music by Dutch composers, please contact:
MuziekGroep Nederland / Donemus (publisher of Dutch contemporary music),
tel: +31-(0)20-3058900, email: firstname.lastname@example.org , web: www.muziekgroep.nl
Donemus has prepared booklets for each solo instrument with the first pages of several works. You can order scores directly from Donemus or from the agents listed at the end of this brochure.
3. For ensembles it is required that all members of the ensemble participate in at least three compositions. It is required of duos that their program consists entirely of works for duos.
4. Programs must be submitted before 1 November 2002. In case there are too many applications, there will be a pre-selection.
5. The program must reflect the quality and versatility of contemporary music. The jury has the right to refuse programs, which are considered to be below the standard of the competition.
6. Except for piano and organ, all participants should use their own
Soloists must provide their own accompanist. Rehearsal rooms are available at the conservatory.
7. Upon registering at the start of the competition, three copies of each score on your program must be given to the secretariat of the jury. These scores will be returned after the performances.
8. The competition consists of three rounds:
a) In the first round all participants will perform a program of approximately twenty minutes, to be chosen by the jury. This round will last four days, after which the jury will announce who is to be admitted to the second round.
b) The second round consists of two hearings of each approximately 20 minutes. During the first hearing the competitors will play a program chosen by the jury. During the second hearing the program will be the competitors. own choice. The jury will then announce competitors eligible for the third round.
c) For the third round the jury will again choose the program. This is the final concert of the Rotterdam Music Biennial, to be held in De Doelen Concert Hall, and broadcast by the Dutch National Radio. At the end of this concert the prizewinners will be announced.
9. Each competitor of the third and final round will receive a certificate.
The following prizes will be awarded:
First prize: ¬ 4,500
Second prize: ¬ 2,250
Third prize: ¬ 1,125
Special prize: ¬ 2,250 (guidelines for this special improvisation prize will be announced later.
Please check our website at www.gaudeamus.nl for an update). In addition, the Gaudeamus Foundation aims to organize (but cannot guarantee) concerts for the finalists.
10. The verdict of the jury is final and not subject to debate.
11. The entry fee is:¬ 30 for soloists, with or without accompanist;
¬ 40 for duos; ¬ 50 for ensembles. The entry fee should be paid
by: international postal money order, credit card: VISA / MasterCard /
American Express or transferred to Gaudeamus Foundation, Postbank account
no. 381200 or to the ABN/AMRO Bank in Bilthoven, IBAN (International Bank
Account Number) code NL86ABNA0552420220 of the Gaudeamus Foundation, with
reference to . Interpreters Competition 2003. .
If you wish to pay by bank cheque, you must add ¬ 15 to cover bank transfer costs.
12. All competitors have to provide their own accommodation. Information
on accommodation can be requested from the V.V.V., Tourist Information
Office in Rotterdam, tel: +31-10-4023200 or on internet e.g. at: www.vvv.rotterdam.nl
Deadline for entries: 1 November 2002.
Entry application forms must be sent to: International Gaudeamus Interpreters
Competition 2003, Swammerdamstr. 38, 1091 RV Amsterdam, The Netherlands
for Improviser (Any Instrument) und Chamber Ensemble:
Pic, Basscl, Perc, Pno, Hp, 2 Vl, Vla, Vc
Toek Numan dutch composer
Tovertuin (1997) flute, mandolin, guitar, harp - Toek Numan
Originally, this piece was written for the entire quintet (with soprano). Even though tonight we shall hear the instrumental version, here follows the text that inspired the music, from 'Tovertuin' by Hendrik de Vries (1896-1989):
Ik sliep, maar niet in een rozetuin
Ik sliep op een berghelling, steil en schuin.
Daar hoorde ik een stem die tot mij sprak:
"Ik ben, die zichzelf in de wereld brak.
Mijn straf is, dat ik mijzelf niet ken
Omdat ik toch altijd een ander ben.
Ik ben een moeder die voedt haar kind.
Ik ben een monster dat mensen verslindt.
Vergeefs of ik zweef en schok op de wind,
Vergeefs of ik in de rotsen delf:
Ik ben altijd een ander, maar nooit mijzelf".
(I slept, but not in a rose-garden / I slept on a mountain slope, steep and aslant / There I heard a voice that spoke to me: / I am, who broke himself in the world / My punishment is, I don't know myself / because I am always someone else / I am a mother who feeds her child / I am a monster that devours people. / Whether I float and shake on the wind / whether I quarry in the rocks: / I am always another but never myself.)
Adams, John - Road Movies for Violin and Piano - Boosey & Hawkes SAB 177
A native of Baku, Azerbaijan, Petros Ovsepyan began his musical
studies at the age of five. In 1979 Petros Ovsepyan immigrated to the United
States, where he continued his training at the Manhattan School of Music
and Indiana University. Some of his teachers have included Giampaolo Bracali,
Harvey Sollberger, Eugene O'Brien, and Claude Baker. Petros Ovsepyan is
a winner of several awards, including BMI and ASCAP. He also has participated
in international festivals, such as Norfolk Chamber Music Festival and
"Words and Music" Latin American Festival at the Indiana University. Petros
Ovsepyan will be a participant of "Vouxs Nouvelles" at Fondation Royamount,
France, in September 1996.
Currently he is studying composition at the Sweelinck Conservatory with Theo Loevendie.
'Now the shadow of the pillar...'
is a series of pieces for various ensembles. For example, Part I is for guitar, Part III for chamber choir and bass flute, Part IV for cello and harp, and Part V and VI, which have not yet been composed, will be for piano and string orchestra respectively.
In each of these pieces I have attempted to create an illusionary and imaginary world, a world that does not actually exist. Whatever this world might be is left up to the interpretation of the performer and the listener.