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Kronos Quartet Singleton Harrington Bradshaw Bing Concert Hall 2020
Kronos Quartet performs "Testimony," which was written for Fifty for the Future: The Kronos Learning Repertoire. Charlton Singleton often draws inspiration from the Gullah culture of the American Southeast's Lowcountry region, where he grew up. In addition to his roles as speaker, composer, and arranger, Singleton also performs as part of Ranky Tanky, a group that specializes in jazz-influenced arrangements of traditional Gullah music. Singleton based Testimony on musical practices of the African Methodist Episcopal Church in which his father was a pastor. During his childhood, a cappella Prayer Bands of three or four people had the responsibility of getting the congregation ready for worship. Notes Singleton, “Testimony is written from the Prayer Band experience, and from specific rhythms in African American churches and communities – the ‘Gullah Clap’ (on beats two, two-and, and four) and the ‘Half Clap’ (on beat one only).” Kronos Quartet: David Harrington, violin John Sherba, violin Hank Dutt, viola Sunny Yang, cello This performance of Testimony was filmed October 2, 2020 at Bing Concert Hall, The Leland Stanford Junior University (Stanford University): Directed, Photographed and Edited by Frazer Bradshaw Recording Engineer: Zach Miley Executive Producers: Elena Park and Chris Lorway Producer: Kimberly Pross You can learn to play this piece. FREE scores and parts, among other materials, are soon to be released online: 50ftf.kronosquartet.org 2020 Inner Sunset Publishing ℗ 2020 Kronos Performing Arts Association Commissioned for Fifty for the Future: The Kronos Learning Repertoire
Cappella Romana Bing Concert Hall Boston Symphony Hall 1458 1900 1933 2013
From a performance at Stanford University's Bing Concert Hall. February 1, 2013. Cherubic Hymn in Mode 1 - Manuel Chrysaphes, MS Mt. Athos, Iviron 1120 (1458) Program note: Dry versus Wet Sound and the Experiment with Live Auralization in Bing Hall Cappella Romana, Stanford's Center for Computer Research in Music and Acoustics and the Art & Art History Department Tonight we will experiment with digital technology in the second half of Cappella Romana's concert in order to transform the Bing Hall into the reverberant soundscape of Hagia Sophia +••.••(...)), which defined the medieval spiritual experience and man's embeddedness in the world. We live in a culture that values dry, direct, and efficient sound. This aesthetic predisposition emerged during the Machine Age +••.••(...)) and it transformed our relationship to sound. Before, speech or chanting reverberating in resonant ancient stone interiors made individual words unclear. The electroacoustic signal, stripped of ambient noise, and piped into dry and inert rooms, by contrast, allowed individual words to be heard with clarity and directness. Modern acoustics started with the building of Boston's Symphony Hall (1900). In the process the physicist Wallace Sabine discovered a formula for predicting the reverberation of a space. This is the length of time a sound produced in an interior continues to reflect off surfaces until it gradually decays into inaudibility. Sabine's formula established a relation between materials and interior volume. This discovery ushered in the development of acoustics as science and the engineering of new synthetic building materials. Both advances allowed the reverberation of any interior to be manipulated and adjusted for the particular function of a space. As the aesthetics of the modern dry and efficient sound permeated the city, it shaped the expectation of concert hall acoustics from an average reverberation time of 4 seconds to a drop to ca. 2 seconds. In treating reverberation as noise, modern technology severed the relationship between sound and space. By contrast, in the pre-modern world the acoustics of the space was the direct product of the natural materials. The marble interior of Hagia Sophia was 70 meters long, while in height it reached 56 meters at the apex of the great dome. The vast chamber and its reflective surfaces of marble and gold resulted in unprecedented acoustics of over ten seconds reverberation time. As a museum Hagia Sophia today has lost its voice, no performances could take place in it. Using new digital technology developed at CCRMA, the second portion of Cappella Romana's concert at Bing aims to recreate sound of what singing in Hagia Sophia must have been like. Each singer caries a microphone that records the sound transforming it into a digital signal, which is then imprinted with the reverberant response of Hagia Sophia. What you hear as a wet sound is the product of a digitally produced signal transmitted through loudspeakers placed strategically to create an enveloping soundfield. This digital signal may shock you with the way it relativizes speech, transforming its content into a chiaroscuro of indistinct but immersive sound. For the Byzantines, this sonic experience was associated with the water: the waves of the sea. Jonathan Abel, consulting professor at CCRMA Bissera Pentcheva, associate professor at the Art & Art History Department For more information about the scientific and aesthetic/interpretive framework of this collaborative project, see our website: (http•••) #ccrma #cappellaromana
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Stanford Symphony Orchestra, 12/3/16 Anna Wittstruck, conductor Bing Concert Hall
Sibelius Bing Concert Hall 2015
Anna Wittstruck, conductor Stanford Symphony Orchestra 11/07/2015, Bing Concert Hall
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