Item Details

Kontakte

McIntire Department of Music
Format
Online; Streaming Audio; Online Video; Video
Date
2016-11-07
Duration
2:16:52
Summary
An Arts Enhancement Event supported by the Office of the Provost & the Vice Provost for the Arts. Program Notes Nasenflügeltanz (Wings-of-the-Nose-Dance) was originally written as a part of Luzifers Tanz (Lucifer’s Dance) from the third scene of the opera Samstag aus Licht (Saturday from Light, 1983). Saturday represents Lucifer’s day, the day of chaos, within the seven-opera Licht cycle. In this scene Lucifer, a larger-than-life character represented by both a bass/ baritone AND a dancer on stilts, conjures up a giant human face which stands approximately 30 ft. high on the stage. A large symphonic band is divided into ten instrumental groups that are seated vertically on five tiers above one another within this face. These instrumental groups represent independent parts of the face: the right eyebrow, the upper lip, the tip of the tongue, etc. A percussionist, with their “shooting gallery,” is seated in the nose and performs Nasenflügeltanz as a solo, accompanied by the symphonic band. The percussionist is allowed to add “extra sounds” of their choosing. For example: electronic samples, amplified springs, thunder sheets, crotales, etc. During this scene the different sections of the face perform their individual dances. In these dances the instrumentalists not only play their instruments but also make movements and gestures that make the different parts of the face come alive. Each section (the right eye, the upper lip, the cheeks, the nose, etc.) all move independently of one another. This is an allegory to human existence: if all the different sections of the face, or indeed one’s life, are in constant struggle, chaos will reign while tranquility and enlightenment cannot be reached. Lucifer’s job, within the mythology of Licht, is to create chaos. In 1988 Stockhausen extracted Nasenflügeltanz from the opera and re-orchestrated it to be performed as a solo percussion piece, or a duo for percussion and synthesizer. Additionally, the percussionist sings a section of the vocal part that Lucifer sings in the opera. The text is as follows: Nasenflügeltanz Wings-of-the-nose dance (jux! hux! pang! tasch! pau! va ke ta ke prrrrr! hey! haa!) Nase gegen Backe Nose against cheek and Und GegenAugeundBraue and Nose agains eye and brow Protest ha ha! Protest ha ha! Obernasenflügeltanz Upper-wings-of-the-nose dance Nase gegen Lippe Nose against lip --Stuart Gerber John Zorn’s Carny was commissioned by and written for pianist Stephen Drury in 1991 with funding from Meet the Composer. As with most of Zorn’s compositions, Carny works with the structure of collage - fragments, which range from recognizable quotations to pure sonic texture, which are intercut, piled up and/or rammed together; out of the rhythm of this juxtaposition a new meaning emerges. In Zorn’s earlier work Cobra several improvising musicians jump without transition from one sonic world to another, discovering intuitively a new musical arc with each performance, where one unique sound event gives unpredictable meaning to those adjacent to it. Carny, in some ways, could be heard as one specific idealized transcription of Cobra for a single player; although here the musical arc is pre-ordained by the composer, the feel of the whole retains that act of discovery. Quotations (unpredictably intermittent in most performances of Cobra) abound in Carny, primarily distorted or isolated fragments from 20th- century piano works (Messiaen, Carter, Ives, Stockhausen and Thelonius Monk are among those represented, although Beethoven, Liszt, and Chopin also make appearances). Alongside direct quotations are substantial distortions (Schoenberg played backwards, Boulez with octaves) and more general stylistic references to Art Tatum, boogie-woogie, and the cartoon soundtrack gestures of Carl Stalling. (Zorn even pre-quotes himself in the opening gestures, spewing single chords ripped from later passages.) Much of the material is rendered unrecognizable, or is sufficiently obscure that few ears would pick up the reference (I myself played Carny for years before recognizing the quotes from some music by Feldman and Ligeti that I had actually performed). Vastly more important is the rhythm that is created by the collision of the fragments; from the juxtaposition of styles, moods, textures and gestures emerges a new kind of narrative which finds welcome company in the profoundly comic tradition of much 20th-century American art (from Chaplin and Ives to Kubrick and Cage). --Stephen Drury Chameleon is envisioned as a series of collaborations between percussionist Stuart Gerber and composer Eric Lyon. As the title suggests, of the orchestral instrument groups, the percussion group represents by far the most changeable sound world. Similarly, the computer provides a space for infinite transformations of sound. Chameleon is intended to explore different modes of co-existence between these two musical chameleons. Chameleon I is a tentative meeting point in which neither party is quite certain of its role, and both explore the space of possibilities in a divergent, improvisatory manner. --Eric Lyon Originally composed for four-channel electronic tape, Kontakte (Contacts) represents one of the seminal works in the genre known as Elektronische Musik— music composed entirely of electronically produced sounds. Shortly after the completion of the tape piece Stockhausen created a second version of the work which blends the electronic sounds of the four-channel tape with the acoustic sounds of the piano and percussion instruments of wood, metal, and skin. Original sketches were for three percussionists with piano, but he soon realized that if the pianist were to play some of the percussion instruments he could compose the work for a duo; this is the final version of the work. The work is in Moment Form in which a moment of sound is dissected and expanded to create the next sound. This type of composition creates a work that is entirely through-composed (i.e. no recurring motives or melodies) but retains a sense of organic motion. Each moment connects to the next in a very organic way. This is in sharp contrast to the numerical relation of notes and sounds of the totally serialized music Stockhausen had been writing earlier in his career. In Moment Form the sounds are connected via transformation and expansion, not through pre-determined mathematical relationships. However, Kontakte’s overall structure was determined by a pre-compositional formal design. When listening to this piece one should keep the title “Contacts” in mind. This title refers to many aspects of the work. First, notice the contact made between sounds on the tape. Each sound is directly related to the sound that follows. Second, notice the contact made between each of the performers and the tape. There are often exact, synchronous moments and then there are moments in which the performers react to, and comment on, the sounds on the tape. Third, notice the contact made between the two performers. Often the performers are with the tape, and sometimes they are completely separate. Lastly, notice the combination of sounds both live and on the tape, particularly in the percussion instruments. Very often Stockhausen experiments with the different timbres of the percussion instruments and uses the sounds as a transformational process. One might hear the sound of wood transforming into metal, or a similar transformation on the tape. The extension and transformation of the sounds, both live and electronic, are of utmost importance in Kontakte.
Creator
McIntire Department of Music
Musician
Drury, Stephen
Gerber, Stuart
Contents
Video: Chameleon I by Eric Lyon Caryn by John Zorn Nasenflugeltanz by Karlheinz Stockhausen Kontakte by Karlheinz Stockhausen Audio: Program notes given from stage by performers. Part 1: 02:00 - Chameleon I (2014) / Eric Lyon 12:50 - Carny (1989) / John Zorn 27:38 - Nasenflügeltanz (1983/1988) / Karlheinz Stockhausen Part 2: Kontakte (1959-1960) / Karlheinz Stockhausen
Notes
Recorded 7 November 2016 in Old Cabell Hall, University of Virginia.
Performers grant the University of Virginia permission to use, reproduce, exhibit or distribute in any medium the recorded performance for non-commercial educational, documentary, and promotional purposes.
Stephen Drury Pianist and conductor Stephen Drury has performed throughout the world with a repertoire that stretches from Bach to Liszt to the music of today. He has appeared at Carnegie Hall, the Kennedy Center, the Barbican Centre and Queen Elizabeth Hall in London, the Cité de la Musique in Paris, and the Leipzig Gewandhaus, and from Arkansas to Seoul. A champion of contemporary music, he has taken the sound of dissonance into remote corners of Pakistan, Greenland and Montana. In 1985 Stephen Drury was chosen by Affiliate Artists for its Xerox Pianists Program, and performed in residencies with symphony orchestras in San Diego, Cedar Rapids, San Angelo, Spokane, and Stamford. He has since performed or recorded with the American Composers Orchestra, the Cologne Radio Symphony Orchestra, the Vienna Radio Orchestra, the Brooklyn Philharmonic, the Boston Philharmonic, the Boston Pops, the Springfield (Massachusetts) and Portland (Maine) Symphony Orchestras, and the Romanian National Symphony. Drury was a prize-winner in the Carnegie Hall/Rockefeller Foundation Competitions in American Music, and was selected by the United States Information Agency for its Artistic Ambassador Program and a 1986 European recital tour. A second tour in the fall of 1988 took him to Pakistan, Hong Kong, and Japan. He gave the first piano recitals ever in Julianehaab, Greenland, and Quetta, Pakistan. In 1989 the National Endowment for the Arts awarded Drury a Solo Recitalist Fellowship which funded residencies and recitals of American music for two years. The same year he was named “Musician of the Year” by the Boston Globe. Stephen Drury’s performances of music written in the last hundred years, ranging from the piano sonatas of Charles Ives to works by György Ligeti, Frederic Rzewski and John Cage have received the highest critical acclaim. Drury has worked closely with many of the leading composers of our time, including Cage, Ligeti, Rzewski, Steve Reich, Olivier Messiaen, John Zorn, Luciano Berio, Helmut Lachenmann, Christian Wolff, Jonathan Harvey, Michael Finnissy, Lee Hyla and John Luther Adams. Drury has appeared at the MusikTriennale Koln in Germany, the Subtropics Festival in Miami, and the North American New Music Festival in Buffalo as well as at Roulette, the Knitting Factory, Tonic and The Stone in New York. At Spoleto USA, the Angelica Festival in Bologna and Oberlin Conservatory he performed as both conductor and pianist. He has conducted the Britten Sinfonia in England, the Santa Cruz New Music Works Ensemble, and the Harvard Group for New Music. Drury has commissioned new works for solo piano from John Cage, John Zorn, John Luther Adams, Terry Riley, and Chinary Ung with funding provided by Meet The Composer. He has performed with Zorn in Paris, Vienna, London, Brussels, and New York, and conducted Zorn’s music in Bologna, Boston, Chicago, and in the UK, and Costa Rica. In March of 1995 he gave the first performance of Zorn’s concerto for piano and orchestra Aporias with Dennis Russell Davies and the Cologne Radio Symphony Orchestra. Later that same season he gave the premiere of Basic Training for solo piano, written for him by Lee Hyla. Drury has recorded the music of John Cage, Elliott Carter, Charles Ives, Karlheinz Stockhausen, Colin McPhee, John Zorn, John Luther Adams and Frederic Rzewski, as well as works of Liszt and Beethoven, for Mode, New Albion, Catalyst, Tzadik, Avant, MusicMasters, Cold Blue, New World, and Neuma. Stephen Drury has given masterclasses at the Moscow Tchaikovsky Conservatory, Mannes Beethoven Institute, and Oberlin Conservatory, and in Japan, Romania, Argentina, Costa Rica, Denmark, and throughout the United States, and served on juries for the Concert Artist Guild, Gaudeamus and Orléans Concours International de Piano XXème Siècle Competitions. Drury is artistic director and conductor of the Callithumpian Consort, and he created and directs the Summer Institute for Contemporary Performance Practice at New England Conservatory. Drury earned his undergraduate degree from Harvard College, and has also earned the New England Conservatory’s select Artist Diploma. His teachers have included Claudio Arrau, Patricia Zander, William Masselos, Margaret Ott, and Theodore Lettvin, and conducting with Donald Thulean. He teaches at New England Conservatory, where he has directed festivals of the music of John Cage, Steve Reich, and (in 2010) Christian Wolff. Lauded as having “consummate virtuosity” by The New York Times, percussionist STUART GERBER has performed extensively throughout the US, Europe, Australia, and Mexico as a soloist an chamber musician. He is Professor of Music at Georgia State University in Atlanta. Stuart Gerber As an active performer of new works, Stuart has been involved in a number of world-premiere performances. He gave the world premiere of Karlheinz Stockhausen’s last solo percussion work Himmels-Tür in Italy, and his percussion trio Mittwoch-Formel at the annual Stockhausen- Courses in Kürten, Germany. He has also given the US and Australian premieres of Stockhausen’s duo version of Nasenflügeltanz for percussion and synthesizer, and the US premiere of his solo percussion work Komet. Dr. Gerber has been the faculty percussionist for the Stockhausen-Courses since 2005 and has recorded a number of pieces for the Stockhausen Complete Edition released by the Stockhausen-Verlag. In addition to his work with Stockhausen, Stuart has worked with many other notable composers, such as Vinko Globokar, Kaija Saariaho, Steve Reich, Tristan  Murail, Frederic Rzewski, George Crumb, Tania Lèon, Michael Colgrass, Ricardo Zohn-Muldoon, and John Luther Adams. Recent engagements include: The KLANG Festival at The Metropolitan Museum of Art in New York, the Cervantino Festival in Gunajuato, Mexico, the Now Festival in Tallinn, Estonia, the Chihuahua International Music Festival in Mexico, the Gulbenkian Center in Lisbon, Portugal, the South Bank Centre in London, the Ultraschall Festival in Berlin, Germany, the Melbourne Recital Centre, Australia, the Spoleto Festival in Charleston, as well as, a performance with Stewart Copeland (the legendary drummer for The Police) at the Savannah Music Festival. Stuart has extensive recording experience and can be heard on Centaur Records, Innova Records, Urtext Digital Classics, Aucourant Records, Bridge Records, Capstone Records, Telarc, Code Blue Records, Mode Records, Wesleyan University Press, Albany Records, the Stockhausen-Verlag, and Vienna Modern Masters. As a pedagogue Dr. Gerber has recently presented a lecture-recital at the Percussive Arts Society International Convention (PASIC) as well as papers at the Midwest Band and Orchestra Clinic and Hawaii International Conference on Arts and Humanities in Honolulu. He has given numerous master classes at conservatories and universities around the US and abroad. Recent master classes include: the New England Conservatory, Oberlin Conservatory, Eastman School of Music, the Manhattan School of Music, Arizona State University, the University of Texas- Austin, the University of Florida, the University of South Florida, the University of Montreal, the Tallin (Estonia) Conservatory of Music, the Southbank Centre (London), and the Sydney Conservatory and the Victoria College of Arts in Australia. Dr. Gerber is a founding member of the Atlanta-based new music group Bent Frequency, performs internationally as one half of the piano-percussion duo Ensemble Sirius, and is regularly heard as extra percussionist with the Atlanta Symphony Orchestra. Dr. Gerber received his Bachelor of Music degree from the Oberlin College Conservatory where he studied with Michael Rosen and earned a Master of Music and Doctor of Musical Arts degree from the University of Cincinnati College-Conservatory of Music (CCM). His teachers at CCM were Allen Otte, Russell Burge, and James Culley of the Percussion Group Cincinnati. He has also done advanced studies at the Hochschule für Musik und Theater in Hannover, Germany, with Professor Andreas Boettger.
Collection
University of Virginia Concert Recordings
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Eric Lyon - Chameleon I

John Zorn - Carny

Karlheinz Stockhausen - Nasenflugeltanz

Karlheinz Stockhausen - Kontakte

Part 1

Part 2