Tag: performance

Samenvatting

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In dit onderzoeksproject heb ik geëxperimenteerd met de uitvoering van stiltes. Wanneer een uitvoerend musicus zich bewust wordt van de rol die stilte speelt (hoe stilte zich gedraagt en wat stilte doet) kunnen er nieuwe ideeën voor het uitvoeren van stilte ontstaan. Welke contexten kunnen muzikale stiltes beïnvloeden? Aan welke stiltes nemen uitvoerende musici of toehoorders (on)vrijwillig deel? En hoe kunnen uitvoerende musici omgaan met de diverse dimensies van stilte in gecomponeerde muziek? Deze onderzoeksvragen, geworteld in de uitvoeringspraktijk, vormen de basis voor mijn verkenning van het verband tussen genoteerde

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Dissertation Summary (english)

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In this research project, I have experimented with the performance of silences. When a performer discerns the role that silence plays (how it acts and what it does), new ideas may emerge for performing silence. What are the contexts that potentially affect musical silences? What are the silences in which performers or audiences willingly or unwillingly participate? And how can performers engage with the multiple dimensions of silence in composed music? Through these research questions, rooted in the act of performance, I have explored the relationship between notated rests and

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Lecture on Markers for Performed Silence (in Beethoven)

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DFSMT 25th Anniversary Music Theory Conference: presentation entitled, “Embodied markers for silence” (Amsterdam Conservatory, March 2, 2024) These images illustrate embodiments of silence in Beethoven’s opus 111 piano sonata (first four bars): References Barthes, R. (2005). The Neutral: Lecture Course at the College de France (1977-1978) (R. Krauss & D. Hollier, Trans.). Columbia University Press. Brooks, W., Hornby, E., & Doctor, J. (2017). Silence, Music, Silent Music (N. Losseff, Ed.). Routledge. Cage, J. (1961). Silence: Lectures and Writings. Wesleyan University Press. Hodkinson, J. (2007). Presenting Absence: Constitutive Silences in Music

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Guy Livingston performs with the Zürich Ballet

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https://www.opernhaus.ch/en/spielplan/calendar/timekeepers/ Under the choreographic direction of Meryl Tankard, the Zurich Ballet presents a new version of Ballet mécanique, entitled “For Hedy.” The performance is scored to music by George Antheil, arranged for piano and 64-channel electronics by Paul Lehrman and Guy Livingston; and performed at the piano by Guy Livingston. Nine performances of “Timekeepers” at the Zurich Opera House as follows:20, 21, 26 January2, 4, 9, 17, 18, 23 Februaryprogramme: For Hedy, Les Noces, Rhapsody in Blue TimekeepersThe «golden» 1920s have gone down in history as a time of ecstatic

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The Speed of Silence

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The Speed of Silence (english below) McGowan en Livingston doen – naast hun bestaan als kunstenaars – artistiek onderzoek (PhD) aan de Universiteit Leiden. Ned McGowan onderzoekt het fenomeen snelheid in muziek, vanuit een uitvoerende en compositorische invalshoek. Guy Livingston onderzoekt stilte en de vele aspecten ervan, vooral in hedendaagse muziek en architectuur, en maakt daarnaast een serie podcasts over dit onderwerp. performing at Studio “The Bug”, in the former US embassy of The Hague. photo by Matilda Arvidsson Een recent concert, februari jl., tijdens het Leidse festival, Peel Slowly

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Paris 1920s

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Paris is a moveable feast Ernest Hemingway It is hard not to be intrigued by the period between the two wars, in which Paris flourished, and artists thrived. Montparnasse became legendary for its café life, as expats and locals fought their fights, argued over cubism, fashion, and politics, and lived their love affairs dramatically in the public eye. Key american figures were Gertrude Stein, Ernest Hemingway, and George Antheil. From the French side, Kiki of Montparnasse, Erik Satie, and Jean Cocteau fueled the passions and artisitic explorations of a generation.

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Ballet Mécanique SOLO

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the acme of demented modernism!—The New York Herald Ballet mécanique SOLO is an extraordinary work by composer George Antheil, arranged for solo piano and electronics by Guy Livingston and Paul Lehrman. It was commissioned by the SinusTon Festival in Magdeburg, Germany, and premièred in 2016. Further performances have been in Montréal, and at Tufts University and Brown University. Minimum technical requirements: 8 channels of sound with 8 loudspeakers; amplified grand piano; projector/beamer; screen; stage lights; mixing board. We bring laptops, MOTUs, and the newly restored film, which is 4K digital.

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Music and Architecture

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“A pianist with a flair for modernism”   The New York Times  Music and Architecture have been linked philosophically and physically since at least the time of the ancient Greeks. In today’s world, some of these connections have been forgotten, while others have only become possible with new technology. The world of virtual reality, digital audio, wifi, and miniaturized electronics are opening up a magnificent spectrum of options. Guy Livingston studied music and architecture at Yale University. He is currently in residence at a former embassy in The Hague, designed by

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