Andy Vores News
Welsh opera composer
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2024-03-29
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The Boston Musical Intelligencer
2017-05-21 19:53:42
Mysterious Goings-On at N-1
Andy Vores (file photo) Instead of the guitars and drums in fashionable garage bands, the budding musicians of Trio Notturno picked up quite different instruments and, in a room they rented at Longy, performed Debussy and Tōru Takemitsu. The Trio also commissioned a work by Boston composer Andy Vores, who was on hand to introduce it. And like start-ups, Trio Notturno opted for N-1, a living room type space just down the street from Longy School of Music’s Pickman Hall. That choice of location should have been clearly posted in the publicity, as some of us were left hunting for it. Few but focused folk might have felt Saturday’s evening sunlight ribboning through the many windows, light befitting Notturno’s program, which they named, “Echoes of Debussy.” By opting for not only a small space but one plainly doubling as classroom and rehearsal room, Trio Notturno placed themselves in a student […]
The Boston Musical Intelligencer
2016-04-26 22:00:12
Vivats for Mature New Music Ensemble
Richard Pittman (file photo) A receptive Tsai Center audience on Friday took in Richard Pittman ably led Boston Musica Viva performance of “Mad Scenes” containing substantive works from composers Andy Vores, Bernard Hoffer, and Arnold Schoenberg. Fortunately for us, Vores and Hoffer were both in attendance (Schonberg sent his regrets), and provided us with some insight into the origin of the works, as well as a glimpse into the inner workings of contemporary composition techniques. Commissioned for BMV in 2013, Vores’ Fabrication 15: Amplification received a second Boston performance. As Vores explained on stage before the concert, Fabrications comes from a larger collection of 32 inventions, each with a name that defines the mood and feeling. Amplification, as Vores explains, is a result of a summertime stroll through the Harvard campus where he happened upon a student playing a piano rag with “charming little mistakes, fabulously slowly.” The thick, palatable […]
The Boston Musical Intelligencer
2015-07-27 05:29:18
Pop Numberland Uncomfortable in its Company
Dawn Upshaw (file photo) The Tanglewood Festival of Contemporary Music has been featuring some big name soloists this year: Emanuel Ax and Peter Serkin have already appeared. Saturday concert was widely anticipated because of the presence of Dawn Upshaw, whose appearance in the first half in Michael Gandolfi’s Carroll in Numberland was perhaps responsible for the largest audience I’ve seen at an FCM matinee (all of the FCM events so far have been extremely well attended). The program once again showcased composers who all had some previous connection to the Tanglewood Music Center; and all on this day had been born between 1955 and 1959. Andy Vores (TMC 1986) is well-known to Boston audiences through his chairmanship of the composition department at Boston Conservatory, and his works appear regularly on contemporary classical programs. His Fabrications 15: Amplification from 2013, came from a 32 piece Fabrications cycle for a wide variety […]
The Boston Musical Intelligencer
2015-03-02 19:52:37
The Forces Were With Pittman
[…] back and forth, and this dominant motive reminded me of Debussy’s wonderful Bloomsbury tennis ballet Jeux, which just celebrated its centenary with a reconstruction of Nijinsky’s original choreography. The New England Philharmonic recently received its 9th ASCAP award for Adventurous Programming, and its final concert of the season (Odysseys, May 2, 2015, at the Tsai Performance Center) will continue this work with a new score from Matthew Browne, a commission from Boston Conservatory Professor Andy Vores, and Gunther Schuller’s Meditation (who has served on the orchestra’s board for many years and was recently named its Composer Laureate). The first half of the performance continued with a muddy reading of the full orchestral version of Aaron Copland’s Appalachian Spring, saved by the virtuosic solo work of principal flute Michael Horowitz. His control, gorgeous use of vibrato, and rich tone resuscitated the multi-part ballet score, and the ensemble work improved throughout the […]