Tag: piano

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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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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Past and Future Silences

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Guy Livingston, piano, Ned McGowan, flute; Nafiss Nia, poetry; met Madelief Lammers, vocals; Magdalena Spinka, vocals; Maya Willemse, piano Spoken Word, Music, Poetry, Electronics, at the Maarten Luther Kerk, Amsterdam Zuid with special guest artists from the HKU Date: Friday, June 18th @ 7pm Program: music of George Crumb, Anton Webern, Ned McGowan, Vanessa Lann, and Guy Livingston, plus “silence” music by performers and composers from the HKU Musician 3.0 program! Ik wil terug naar het verloren momentnaar de vergeten lachnaar de tuin en de vijgenboom. Nafiss Nia, uit esfahan

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Antheil the Futurist

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Liner Notes for Antheil the Futurist In 1920, a brash young composer from New Jersey named George Antheil decided to be the “most ultra” of the avant-garde, quarreled with his teachers, and transformed himself into a concert pianist. His cousin Robert Antheil remembered many years later: “At that time George was getting ready for his trip to Europe and was practicing all day long. The keys on the piano were worn through the ivory and down into the wood. He attacked the piano fiercely. When his fingers got very sore

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The Lost Sonatas of George Antheil

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Sotto Voce with Fist: The Story of Antheil’s “Lost” Sonatas Just as John Cage was probably the most notorious American composer of the post-war twentieth century, George Antheil was the most notorious of the pre-war era. Antheil’s succés de scandale was astonishing, making him the rival of Stravinsky and Satie. As with Cage, Antheil’s eagerness to foment revolution came from his daring instrumentation, surprising pronouncements, and anti-establishment attitudes. Works like the Ballet mécanique–scored for 16 mechanical pianos, airplane propellers, percussion, and siren–literally blew people away and caused riots in the

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Winter Music

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Recorded under the supervision of John Cage in 1991, and directed by Stephen Drury, with the Caluthumpian Consort: we recorded for Mode Records at Jordan Hall (New England Conservatory), Boston. Pianists include Alanna Battat, Guy Livingston (arrangement) and Joanna Kovitz…

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Don’t Panic: sixty seconds for piano

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“Daring to be New” —Allan Kozinn, The New York Times “All about risk” —Sports Illustrated “Bravura emblematic of the richness than one minute can hold… A postmodern fantasy.. Superbly shows off Guy Livingston’s vocal and fingerwork virtuosity.” —Le Monde “The composers create radical and independent worlds, full of charm or anguish.” Coup de Coeur Award —Piano Magazine “Cutting Edge”—Paris Free Voice “Taking Excess to Extremes” —Bernard Holland, The New York Times The CD mixes a wide range of new music styles ranging from jazzy and neo-classical works through virtuosic- serialism

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