George Aitken Videos
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- Vereinigtes Königreich Großbritannien und Nordirland
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2024-05-21
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Tōru Takemitsu Aitken Burt Debussy 1982 1991 1992 1994 2001
Performers: Robert Aitken (flute), Steven Dann (viola), Erica Goodman (harp). Composed in 1992, this composition belongs to what Peter Burt distinguishes as the final period in Takemitsus creative output. His compositions in the 1990s develop and exaggerate the late style the composer reached during the late 1970s and 1980s. Here Takemitsu gives full rein to what he called ’Romanticism’: modernist techniques get relaxed, the music has emphasis on melos and has an unapologetically positive outlook in the ’sea of tonality’ that he developed in the 1980s. This particular piece ends with a clear Db triad. His musical language stabilizes and normalizes to the extent that pieces begin to resemble one another more and more. To add to this, they often share thematic materials or make allusions to other composers. Rather than each piece being a separate musical discourse, one could see how Takemitsu takes a new stroll in his musical „garden“, composed of the same basic repertory of musical paradigms. Particularly this composition is interrelated with „How Slow the Wind“ (1991) and „Archipelago S.“ (1994) with regard to thematic materials. Beyond themes of wind, water also thematically connects these compositions and so allusions to compositions from the „waterscape“ cycle of the 1980s can be heard. In particular the theme of „Rain Coming“ (1982) can be heard at 03:29, allusion to „Rain Spell“ (1982) at 06:10. The Es-E-A motif is scattered throughout and Takemitsu also includes a brief quotation from Debussy’s sonata for flute, viola and harp which served as a model for this composition at 01:31. Regarding the tonal construction of this piece, Burt notes that late Takemitsu uses a semi-serial technique to generate harmonic materials. In „And Then I Knew ’Twas Wind“ the composer favors the ’6-20’ pitch collection, generating two hexachords: F-G#-A-C-C#-E and D#-F#-G-Bb-B-D. The first hexachord seems to serve as the main building block of the composition, since Takemitsu enjoys showing us as many permutations of this pitch collection as possible, while it’s chromatic complement is never heard fully, but is rather used as a resource from which to add varied harmonic color to the pitches of the first hexachord. Takemitsu thus successfully avoids the harmonic ’sameness’ that might otherwise result from the consistent use of the ’6-20’ collection (and which is such a conspicuous feature of certain dodecaphonic works by other composers constructed on the basis of that form); moreover his chosen method allows him such freedom that he is able to quote the Leitmotiv of „How Slow the Wind“ in parallel major thirds, and still remain faithful to his basic constructional premises (09:16). Reference: Burt, Peter 2001. The Music of Toru Takemitsu. Cambridge University Press. Pp: 217-224.
Kanen Breen Leonard Bernstein Brett Weymark O Connor Connor Aitken Handel Sullivan Stephen Sondheim Sydney Opera House Pacific Opera Sydney Youth Orchestra
Book: www.sydneyoperahouse.com or www.sydneyphilharmonia.com.au/bernstein-candide Saturday 29 September at 8pm Sunday 30 September at 1pm Concert Hall, Sydney Opera House Brett Weymark conductor Mitchell Butel director Caroline O'Connor The Old Lady Alexander Lewis Candide Kanen Breen Maximilian Annie Aitken Cunegonde Phil Scott Pangloss Also featuring Nick Jones, Adam Player and members of Pacific Opera Symphony Chorus Festival Chorus Sydney Youth Orchestra Bernstein’s musical comedy is a wickedly tuneful romp for the best of all possible worlds. Our gormless hero Candide and his fiancée Cunegonde are raised by the philosophical windbag Professor Pangloss to believe that all is for the best in this best of all possible worlds. Disaster, separation, disease, unpleasant journeys and attempted burning at the stake soon follow, until, thoroughly disillusioned, all the characters reunite at home and resolve to make some sense of life. Think of it as the fun-house mirror version of Handel’s Saul, one where tragedy is played as farce – with a happy ending, of course. From its rollicking overture to its string of affectionate parodies of opera, Gilbert and Sullivan, tango and Broadway glitz, Candide is a delight from start to finish – one that might just make you think. While the overture and showpieces like the bravura ‘Glitter and Be Gay’ have become concert-hall fixtures, the complete Candide is rarely mounted. If there’s one thing that drives Bernstein’s work, it’s the belief that while we might be ‘neither pure, nor wise, nor good, we'll do the best we know. Pre-concert talk: Held 45 minutes prior to the performance in the Northern Foyer, presented in association with Fine Music FM and Sydney Opera House. Book by Hugh Wheeler Based on the satire by Voltaire Lyrics by Richard Wilbur With additional lyrics by Stephen Sondheim, John LaTouche, Dorothy Parker, Lilliam Hellman and Leonard Bernstein Orchestration by Leonard Bernstein and Hershy Kay Musical continuity and additional orchestration by John Mauceri
Staatsoper Linden Aitken Miro Staatsoper Berlin 2008 2020
Sechs Premieren im Großen Haus präsentiert die Spielzeit 2020/21 der Staatsoper Unter den Linden und für alle wurden Regisseurinnen und Regisseure eingeladen, die erstmals hier arbeiten. In unserem Saisontrailer stellen sie sich und ihre Neuproduktionen schon einmal kurz vor. Mehr erfahren unter www.staatsoper-berlin.de. »Ruhelos« ist das Schlagwort, mit dem die Saison 2020/21 überschrieben ist: Ruhelosigkeit treibt uns an und lässt uns nicht stillstehen. Durch sie entsteht Dynamik, aber auch Ruhe ist von Bewegung nicht losgelöst. Verzögerung oder Langsamkeit können ebenso zu Fortschritt und Veränderung führen. In den Szenarien, die der amerikanische Videokünstler und Filmemacher Doug Aitken in seinen Installationen »migration (empire)« von 2008 entwickelt, treffen Welten aufeinander. Zivilisation und undomestizierte Natur, die im Grunde nicht kompatibel sind und in merkwürdiger Spannung zueinander stehen – so wie es im »Wilden Westen« des 19. Jahrhunderts der Fall war, wo Puccinis »La fanciulla del West«, die letzte Premiere der Spielzeit 2020/21, spielt. Die Bilder Doug Aitkens haben die Regisseurin Lydia Steier, selbst Amerikanerin, maßgeblich bei ihrer Arbeit inspiriert. Filmstills aus »migration (empire)« Doug Aitken 2008, courtesy 303 Gallery, New York; Victoria Miro Gallery, London; Galerie Presenhuber, Zürich; Regen Projects, Los Angeles
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