Chamber Music Northwest Summer Festival to Celebrate Women Composers

This summer, Chamber Music Northwest’s 2017 festival programming will focus on the significant contributions of women composers. The opening night concert showcases a few of the greats – Fanny Mendelssohn (1805-1847), Clara Schumann (1819-1896), and Amy Beach (1867-1944) – that helped to forge a path for future generations, but many of the events throughout the festival will revolve around the works that are being written today.
Among the world premieres and panel discussions at this year’s festival, Chamber Music Northwest will feature the works of ELLEN TAAFFE ZWILICH and VALERIE COLEMAN. In anticipation of this summer’s festivities, both women were recently featured in a series of promotional videos that dive into the unique challenges they have faced throughout their careers and the encouraging prospects they see for the future.
Watch Zwilich and Coleman Interviews

Celebrating Richard Yardumian’s Centenary

The centenary of Richard Yardumian’s birth was celebrated on April 5th. Born in Philadelphia, Richard served in World War II before returning home to establish himself as one of the city’s finest composers. He had a close relationship with Eugene Ormandy and the Philadelphia Orchestra, which earned him the prestigious title of “Composer Laureate” from 1949 until 1964. During that time the orchestra premiered nine of his works and produced four recordings. Explore a few of these recordings below.

Armenian Suite (1954)
For Orchestra
Duration:
16′
Full Orchestration: 4(Picc.) 4(E.H.) 4(B.Cl.) 4(C.Bsn.) – 6 4 4 1; Timp. Perc. Hp. Str.
Small Orchestration (arr. Ofer Ben-Amots): 2 2 2 2 – 2 2 2 0; Timp. 2Perc. Hp. Str.
Perusal Score
Passacaglia, Recitatives and Fugue (1957)
For Piano and Orchestra
Duration:
18′
Orchestration: Solo Pno.; 3 3 3 3 – 4 4 3 1; Timp. Perc. Pno. Str.
Symphony No. 1 (Story of Noah) (1950)
Duration: 25′
Orchestration: 4 4 4 4 – 4 4 4 1; Timp. Perc. Cel. 2Hp. Str.
Veni, Sancte Spiritus (1959)
For Orchestra
Duration:
8′
Orchestration: 2 3 2 2 – 2 2 2 0; Hp. Str.
Violin Concerto (1949)
For Violin and Orchestra
Duration:
24′
Orchestration: Solo Vln.; 3 3 3 3 – 4 4 4 0; Timp. Perc. 2Hp. Str.

Paul Taylor Dance Company Brings the Music of Charles Ives, P.D.Q. Bach, and Norman Dello Joio to Lincoln Center

Throughout March, the Paul Taylor Dance Company will take up residence at the David H. Kotch Theatre at Lincoln Center and feature multiple performances to the music of CHARLES IVES, P.D.Q. BACH, and NORMAN DELLO JOIO. Orchestra of St. Luke’s, conducted by Donald York and Ted Sperling, will accompany the ensemble on every program.

Ives’ Three Places in New England is the highlight of Taylor’s “Danbury Mix” (pictured above) and will be performed on March 14th, 18th, and 25th. Taylor has also incorporated two works by P.D.Q. Bach – Howdy Symphony and Royal Firewater Musick – into his “Ab Ovo Usque Ad Mala (From Soup to Nuts),” which will be performed on March 16th and 19th. And finally, the dance company will perform Martha Graham’s choreography to Dello Joio’s Diversion of Angels on March 19th.

Norman Dello Joio
DIVERSION OF ANGELS

For Chamber Orchestra
Duration: 16′

PERUSAL SCOREVIDEO

Charles Ives
THREE PLACES IN NEW ENGLAND

For Orchestra
Duration: 18′

PERUSAL SCOREAUDIO

I. The “St. Gaudens” In Boston Common
II. Putnam’s Camp, Redding, Connecticut
III. From The Housatonic At Stockbridge
P.D.Q. Bach
ROYAL FIREWATER MUSICK

For Chamber Orchestra
Duration: 15′

PERUSAL SCOREAUDIO

III. With a Twist
V. One for the Road

Three Composers Awarded 2016 Fromm Commissions

Congratulations to JAMES MATHESON, MELINDA WAGNER, and JAMES PRIMOSCH! All three composers were recently awarded 2016 Fromm Music Foundation commissions. As the foundation’s website notes, “These commissions represent one of the principal ways that the Fromm Music Foundation seeks to strengthen composition and to bring contemporary concert music closer to the public. In addition to the commissioning award, a subsidy is available for the ensemble performing the premiere of the commissioned work.”

Composer Spotlight: Martin Bresnick

…more than almost any living composer I know of,
he is able to take the most basic, plain materials and spin them out into compelling dramatic structures…
–Fanfare
Over the past few months, throngs of friends and admirers have gathered to help celebrate Martin Bresnick’s 70th birthday (November 13). Bang on a Can curated events on July 26th and September 11th in honor of their former teacher. Similarly, members of the Yale faculty paid tribute to their colleague’s milestone birthday on October 18th with a specially dedicated program. The celebrations continued on November 6th as a star-studded night of performances at the National Sawdust in New York City ushered in the beginning of Bresnick’s 70th year.
The stylistic range of Martin Bresnick’s music makes it difficult to pin down, but it is always “marked by an economy of materials and lyrical intensity” (Kyle Gann, American Music in the Twentieth Century). We encourage you to browse through the catalog highlights below and discover why so many champion his music.
  • ANGELUS NOVUS
    for Orchestra
    3 3(dbl. E.H.) 3(B.Cl.) 3 – 4 3 3 0; Timp. Perc. Str.

    …this is music not to sum up in a few words, but to sink your teeth into and reflect upon at length.

    –Village Voice

    GRACE
    for Two Marimbas and Orchestra
    Solo mar.(2); 0 2 2 2 – 2 0 0 0; Str.

    Unmistakably American in its dialect, it’s still not hard to hear Stravinsky (or at least Nadia Boulanger) hovering approvingly in the background.

    –American Record Guide

    MY FRIEND’S STORY
    An Opera: Prologue, 3 Scenes, Epilogue
    (Based on the story “Strakh” by Anton Chekhov)

    There were sincere ovations and gasps of admiration heard throughout the performance, and the sort of curtain-call reception which any theater creator would hope for. You felt part of something special just by showing up.

    –New Haven Theater Jerk

    THE WAY IT GOES
    for Orchestra
    2(1 dbl. Fl.) 2 2 2 – 2 2 0 0; Timp. 1Perc. Str.

    …effective as a call to action; and in the light of Ferguson, Missouri, and similar events, Mr. Bresnick’s “call” was an action worthy of multiple hearings.

    –Idyllwild Town Crier

    All content is for promotional purposes only.

  • BALLADE
    for Cello and Piano

    … [a] blend of lyricism and cragginess…

    –Fanfare

    EVERY THING MUST GO
    for Saxophone Quartet

    If anyone ever doubted the power and beauty of a saxophone quartet, PRISM’s presentation of this work would quickly change their mind. It left me speechless.

    –ArtsWatch

    Bresnick on “Every Thing Must Go”
    FANTASIA ON A THEME BY WILLIE DIXON
    for Piano, Organ, Violin, Vibraphone, Electric Guitar, Bass Clarinet, and Drum Set

    …it is evidence of an American composer whose ears are wide open…

    –New World Records

    Bresnick on “Fantasia on a Theme by…”
    JUST TIME
    for Woodwind Quintet

    …an unusually resonant sound, warmer and less “tart” than that usually heard in wind quintets.

    –Rovi Joseph Stevenson

    MY TWENTIETH CENTURY
    for Flute, Clarinet, Violin, Viola, Cello, and Piano

    Although it begins as though it might be some sort of minimalist piece…
    it develops into something completely different, nostalgic, deep, and beautiful, and having a very specific relationship to its text.

    –Tempo

    Bresnick on “My Twentieth Century”
    PRAYERS REMAIN FOREVER
    for Cello and Piano

    …dark, brooding and emotionally substantial…

    –Gramophone

    …exemplifies the power formal craftsmanship can have to ensnare the ear and make a visceral emotional connection.

    –Time Out New York

    Bresnick on “String Quartet No. 2”

    All content is for promotional purposes only.

  • BAG O’TELLS
    for Mandolin

    …seek[s] to synthesize the musical past and a unique voice of the present.

    –The Yale Alumni Magazine

    A coherent multi-sensorial work, it invites sustained attention from a far wider audience than ‘pure’ concert music can hope to do.

    –RealTime Online Magazine

    HIGH ART
    for Solo Piccolo with Optional Toy Piano

    His music is formally clear, and it has a combination of a direct expressivity and a rigorous method, as well as a real sense of sonic immediacy.

    –John Harbison

    ISHI’S SONG
    for Solo Piano

    Mercifully free of stereotypic trappings of negativity — just listen to the chiming, dancing turns of “Ishi’s Song” — you’ll find Bresnick handing you refreshingly new and yet fully authentic meditations on things we least understand.

    –Porter Anderson

    JOSEPHINE (THE SINGER)
    for Solo Violin

    …a significant contribution to the solo violin repertoire.

    –NewMusicBuff

    All content is for promotional purposes only.

  • Take a glimpse into the world behind many of Martin Bresnick’s works.

  • Angelus Novus
    (Part of “Opera della Musica Povera”) for Orchestra
    Bread and Salt
    for Mixed Ensemble
    B’s Garlands
    for Eight Solo Violoncellos
    Caprichos Enfáticos
    for Piano and Percussion Quartet
    Falling
    for Solo Mezzo-soprano and Orchestra
    Fanfare
    for Brass Ensemble
    Fantasia on a Theme by Willie Dixon
    for Chamber Ensemble
    Grace
    for Two Marimbas and Orchestra
    Little Suite
    for String Orchestra
    My Friend’s Story
    An Opera: Prologue, 3 Scenes, Epilogue
    Pine Eyes
    for Narrator and Mixed Ensemble
    Prophetic Strain
    (Movement II from “Pan Penseroso”) for Two Flutes and Orchestra
    Sinfonia
    (part of “Opera della Musica Povera”) for Orchestra
    The Way It Goes
    for Orchestra
    Wir Weben Wir Weben
    for String Orchestra