Podcasts about Shulamit Ran

In this episode, Dave and Andrew explore the second Pulitzer Prize in music won by a female composer, Shulamit Ran for her Symphony, in 1991. What will they think about this fourth freely-atonal work in a row to win the prize? And what snags did they run into researching this episode?   As mentioned in the podcast, here is Shulamit Ran performing with the New York Philharmonic in 1965: If you'd like more information on Shulamit Ran, we recommend: Malcolm Miller, "Between Two Cultures: A Conversation with Shulamit Ran" Tempo, 2004, 58(227):15-32. "Casting Musical Spells: Time, Passion, and Inevitability in the Music of Shulamit Ran,"  In: Kouvaras, L., Williams, N., Grenfell, M. (eds) The Composer, Herself. Palgrave Macmillan (2023).

¡Amantes de la cultura! Bienvenidos a una nueva emisión de 1 Minuto con las artes

Synopsis It was on today's date in 2003 that a new violin concerto by composer Shulamit Ran premiered at Carnegie Hall – but it would be just as appropriate for us to run this episode of Composer's Datebook on Mother's Day – as Ran herself explains:“Thoughts of my mother, Berta Ran, whose strength of spirit has been a profoundly significant guiding light throughout my life, have embedded themselves in various parts of this work. At the closing of the concerto, echoes of a familiar melody, one my mother sang to me in childhood with words of her own creation, appear, gently fading away.”Shulamit Ran born in Tel Aviv in 1949 and moved to New York City at age 14 on a scholarship to Mannes College of Music. From 1973 to 2015, she taught at the University of Chicago, and served as composer-in-residence with the Chicago Symphony. In 1991 she won the Pulitzer Prize for Music. Commenting on winning the prestigious award, Ran admitted to being a little surprised:  “I feel I've always been out of step,” she said. “At times … I was not considered avant-garde enough. Now, considering the current trend of accessibility, some think I'm too forbidding.” Music Played in Today's Program Shulamit Ran (b. 1949) Violin Concerto Ittai Shapira, vln; BBC Concert Orchestra; Charles Hazlewood, conductor. Albany TROY-970

We're joined by composer Augusta Read Thomas, featured guest for this year's New Music Festival at Bowling Green State University and a longtime force behind the scenes of contemporary music. Along with celebrated oboist Andrew Nogal, Thomas discusses the debut album from the Grossman Ensemble (founded by Thomas and housed at the University of Chicago). Called Fountain of Time, the album features a wide variety of works written for the ensemble, including David Dzubay's PHO (Potentially Hazardous Objects) and Shulamit Ran's Grand Rounds. http://www.augustareadthomas.com/ http://www.andrewnogal.com/ https://arts.uchicago.edu/content/fountain-time-album

Synopsis Let's face it. Brevity and wit are not always qualities one associates with new music. But today we offer a sample: this comic overture is less than 5 minutes long, and opens, as you just heard, with a Fellini-esque duet for piccolo and contrabassoon. The overture is entitled “Quantum Quirks of a Quick Quaint Quark,” and is a rather burlesque celebration of modern theoretical physics. Its alliterative title evokes those subatomic particles known as “quarks” that, we're told, make up our universe. And, since this music changes time signature so often, perhaps Heisenberg's “uncertainty principle” is thrown in for good measure. The music is by Marga Richter, who was born on this date in 1926 in Reedsburg, Wisconsin. Richter received her early music training in Minneapolis, and then moved to New York's Juilliard School. By the time of her death in 2020, she had composed over 75 works including an opera and two ballets, as well as two piano concertos and a variety of solo, chamber and symphonic works. "Composing,” said Richter,” is my response to a constant desire to transform my perceptions and emotions into music … Music is the way I speak to the silence of the universe." Music Played in Today's Program Marga Richter (b. 1926) — Quantum Quirks of a Quick Quaint Quark (Czech Radio Orchestra; Gerard Schwarz) MMC 2006 On This Day Births 1879 - French composer, pianist, and writer Joseph Canteloube, in Annonay (near Tournon); 1885 - Austrian composer and musicologist Egon Wellesz, in Vienna; 1921 - English composer (Sir) Malcolm Arnold, in Northampton; 1926 - American composer Marga Richter, in Reedsburg, Wisconsin; 1949 - Israeli composer Shulamit Ran, in Tel Aviv; Deaths 1662 - English composer Henry Lawes, age 66, in London; Premieres 1784 - Gretry: opera, "Richard Coeur de Lion" (Richard the Lionhearted), in Paris; 1858 - Offenbach: comic opera, "Orphée aux enfers" (Orpheus in the Underworld), in Paris; 1900 - Rimsky-Korsakov: opera "The Tale of Tsar Saltan," at the Solodovnikov Theatre in Moscow, with Mikhail Ippolitov-Ivanov conducting (Gregorian date: Nov. 3); 1921 - Third (and final) version of Sibelius: Symphony No. 5, in Helsinki under the composer's direction; Sibelius conducted the first performances of two earlier versions of this symphony in Helsinki on Dec. 8, 1915 and Dec. 14, 1916; 1926 - Nielsen: Flute Concerto (first version), in Paris, conducted by Emil Telmányi (the composer's son-in-law), with Holger Gilbert-Jespersen the soloist; Nielsen revised this score and premiered the final version in Oslo on November 9, 1926, again with Gilbert-Jespersen as the soloist; 1933 - Gershwin: musical "Let 'Em Eat Cake," at the Imperial Theater in New York City; 1941 - Copland: Piano Sonata, in Buenos Aires, by the composer; 1956 - Menotti: madrigal-fable "The Unicorn, the Gordon and the Manticore," at the Library of Congress in Washington, D.C.; 1984 - Ellen Taaffe Zwilich: Double Quartet for strings, at a concert of the Chamber Music Society of Lincoln Center, by the Emerson Quartet and friends. 2004 - Danielpour: "Songs of Solitude" (to texts of W.B. Yeats), at the Kimmel Center's Verizon Hall in Philadelphia, by baritone Thomas Hampson and the Philadelphia Orchestra, with Daniel Robertson conducting; Others 1739 - Handel completes in London his Concerto Grosso in D, Op. 6, no. 5 and possibly his Concerto Grosso in F, Op. 6, no. 9 as well (see Julian date: Oct. 10). Links and Resources On Marga Richter An interview with Richter

Pacifica Quartet — Contemporary Voices (Cedille) Jump to CD giveaway form “I can relate so much to these three pieces after going through this pandemic,” said violist Mark Holloway reflecting on, Contemporary Voices, the most recent release from Pacifica Quartet. “Each one has something quite unique to say.” The recording features three contemporary pieces commissioned by the quartet, which won a Grammy for best Chamber Music Performance. The ensemble is also opening the MN Beethoven Festival on June 27. Can you talk about ‘Glitter, Doom, Shards, Memory — String Quartet No.3' by Shulamit Ran and the visual art that inspired it? “There was an exhibition at the Metropolitan Museum of Art called ‘Glitter and Zoom German Portraits from the 1920s.' I think this was an inspiration to Ran. The quartet was in residence at the museum, and they wanted music that had a connection to the visual art. “There's a German-Jewish painter named Felix Nussbaum who perished in Auschwitz during the Holocaust. Ran wanted to show in music what a normal life, with its joys and sorrows, and ups and downs might be like. Daily life can be torn apart by cruelty, war and hatred. Nussbaum keep painting in the camps during the war. The struggle to survive, create, express and identify is really powerful.” Can you talk about Jennifer Higdon's work Voices that she dedicated to the quartet after collaborating with them at a summer festival? “It's a real knockout of a piece. It starts off with this relentless, crazy frenzy of energy called ‘Blitz.' It's a real explosion. Higdon was saying that a lot of pieces start out soft and then loud. She wanted to see what it might be like the other way around.” Is it true that the combination of instruments on Ellen Taaffe Zwilich's Quintet for Alto Saxophone and String Quartet isn't a combination you hear often? “I too, was unsure what it would sound like. The fact that we're playing with someone else is already something to celebrate. You're joining forces and making music together with a friend. In this case, it's her terrific colleague, Otis Murphy, who's a saxophone professor at Indiana University. You hear the jazziness and different sounds coming from her pen. The piece has a celebratory nature to it, and it just really seems appropriate after all we've been through.” Watch Now To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Giveaway Form Resources Pacifica Quartet — Contemporary Voices (Cedille) Pacifica Quartet — Contemporary Voices (Amazon) Pacifica Quartet (Official site) Ellen Taaffe Zwilich (Official site) Jennifer Higdon (Official site) Shulamit Ran (Theodore Presser)

To round off #BlackHistoryMonth2021, I bring you an array of artists singing a wide range of 20th Century repertoire. Included are singers who have previously been featured in full episodes (including Lawrence Winters, Gloria Davy, Charles Holland, and Carol Brice), legendary favorites (including Leontyne Price, Martina Arroyo, Roberta Alexander, and Barbara Hendricks), important concert singers (including Adele Addison and Betty Allen), lesser-known artists (including Helen Thipgen, Martha Flowers, William Pearson, Mareda Gaither, and Olive Moorefield), and iconic singers (including Jessye Norman, Kathleen Battle, and Christiane Eda-Pierre) for whom important new work was created by Judith Weir, André Previn, and Charles Chaynes. The range of composers represented is equally vast and includes Leonard Bernstein, Karlheinz Stockhausen, Virgil Thomson, Michael Tippett, Lee Hoiby, Shulamit Ran, Gian Carlo Menotti, Judith Weir, Paul Bowles, Lukas Foss, and David Del Tredici. with special attention given to African American composers Margaret Bonds, Howard Swanson, William Grant Still, Hall Johnson, and Robert Nathaniel Dett. In other words: something for everyone and just a foretaste of future Countermelody programs that will continue to celebrate the contributions of African American singers. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

We're joined by composer Augusta Read Thomas, featured guest for this year's New Music Festival at Bowling Green State University and a longtime force behind the scenes of contemporary music. Along with celebrated oboist Andrew Nogal, Thomas discusses the debut album from the Grossman Ensemble (founded by Thomas and housed at the University of Chicago). Called Fountain of Time, the album features a wide variety of works written for the ensemble, including David Dzubay's PHO (Potentially Hazardous Objects) and Shulamit Ran's Grand Rounds. http://www.augustareadthomas.com/ http://www.andrewnogal.com/ https://arts.uchicago.edu/content/fountain-time-album

We're joined by composer Augusta Read Thomas, featured guest for this year's New Music Festival at Bowling Green State University and a longtime force behind the scenes of contemporary music. Along with celebrated oboist Andrew Nogal, Thomas discusses the debut album from the Grossman Ensemble (founded by Thomas and housed at the University of Chicago). Called Fountain of Time, the album features a wide variety of works written for the ensemble, including David Dzubay's PHO (Potentially Hazardous Objects) and Shulamit Ran's Grand Rounds. http://www.augustareadthomas.com/http://www.andrewnogal.com/https://arts.uchicago.edu/content/fountain-time-album

In de maand augustus in Vrije Geluiden speciale aandacht voor de cellosuites van Johann Sebastian Bach. Gespeeld op cello, op viool, op altviool, of op saxofoon! Maar ook volkomen andere toffe muziek, van nieuwe uitgaven op cd of digitaal, uit fraaie archiefvondsten en nog-lang-niet-sleetse grammofoonplaten. Met muziek van Johann Sebastian Bach, Steven Kamperman, Shulamit Ran, en Robert Fripp. En Arno Bornkamp!

On this episode of Cedille's Classical Chicago podcast, Brandon Vamos of Pacifica Quartet shares insight to their new album that Vamos calls "a culmination of our career." Contemporary Voices features the music of Pultizer Prize-winning composers Shulamit Ran, Jennifer Higdon, and Ellen Taaffe Zwilich.

It was on today’s date in 2003 that a new violin concerto by composer Shulamit Ran premiered at Carnegie Hall – but it would be just as appropriate for us to run this episode of COMPOSERS DATEBOOK on Mother’s Day – as Ran herself explains: “Thoughts of my mother, Berta Ran, whose strength of spirit has been a profoundly significant guiding light throughout my life, have embedded themselves in various parts of this work. At the closing of the concerto, echoes of a familiar melody, one my mother sang to me in childhood with words of her own creation, appear, gently fading away.” Shulamit Ran born in Tel Aviv in 1949 and moved to New York City at age 14 on a scholarship to Mannes College of Music. From 1973 to 2015, she taught at the University of Chicago, and served as composer-in-residence with the Chicago Symphony. In 1991 she won the Pulitzer Prize for Music. Commenting on winning the prestigious award, Ran admitted to being a little surprised: “I feel I’ve always been out of step,” she said. “At times ... I was not considered avant- garde enough. Now, considering the current trend of accessibility, some think I’m too forbidding.”

It was on today’s date in 2003 that a new violin concerto by composer Shulamit Ran premiered at Carnegie Hall – but it would be just as appropriate for us to run this episode of COMPOSERS DATEBOOK on Mother’s Day – as Ran herself explains: “Thoughts of my mother, Berta Ran, whose strength of spirit has been a profoundly significant guiding light throughout my life, have embedded themselves in various parts of this work. At the closing of the concerto, echoes of a familiar melody, one my mother sang to me in childhood with words of her own creation, appear, gently fading away.” Shulamit Ran born in Tel Aviv in 1949 and moved to New York City at age 14 on a scholarship to Mannes College of Music. From 1973 to 2015, she taught at the University of Chicago, and served as composer-in-residence with the Chicago Symphony. In 1991 she won the Pulitzer Prize for Music. Commenting on winning the prestigious award, Ran admitted to being a little surprised: “I feel I’ve always been out of step,” she said. “At times ... I was not considered avant- garde enough. Now, considering the current trend of accessibility, some think I’m too forbidding.”

I'm really honored to have violinist Violaine Melançon on the show this week to discuss her views on the skills young musicians need to develop to become well-rounded artists. As you'll get to hear, Violaine is an artist of great depth and a dedicated pedagogue with wonderful wisdom and empathy.  I'm certain that you will resonate with her message and walk away inspired and motivated In our conversation, Violaine expands on: The importance of choosing a teacher that will be a good fit The wonderful teaching philosophies of Isadore Tinkleman, which created “searching musicians” and fostered thinking and creativity in his students The importance of learning to listen and trust your ear Becoming a “Searching Musician” The importance of being versatile How and how long we should practice What summer festivals can bring to a young musician's development How much we learn when we teach The importance of having a good balance between routine, consistency, and variety Listening to yourself as if you were your own best student (which will help you listen better and assess what is objectively) Her main “engines:” curiosity, creativity in problem-solving, and yoga Her wise advice to students Her beautiful actionable tip: find a way to be inspired every day     Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use every day!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE, and we'll begin 2020 with The Inner Game of Golf by Tim Gallwey!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!     MORE ABOUT VIOLAINE MELANÇON: Website: https://www.violaineMelançon.com/     An artist deeply dedicated to the range of violin and chamber music repertoire, violinist Violaine Melançon is Associate Professor of Violin at the Schulich School of Music at McGill University, and serves on the violin and chamber music faculties of the Peabody Conservatory. She was for thirty years the founding violinist of the Peabody Trio which was ensemble-in-residence at the Peabody Conservatory from 1987 to 2016. After winning the prestigious Naumburg Chamber Music Award in 1989, the Peabody Trio established itself as an important presence in the chamber music world as vivid interpreters of the classics of the repertoire, advocates for new music, and dedicated teachers and mentors to a generation of young musicians. As a member of the Peabody Trio, Ms. Melançon gave a New York debut in 1990 at Alice Tully Hall and has performed in the most important chamber music series in North America, including New York, Washington, DC, Chicago, Denver, Vancouver, Montreal, Seattle, San Francisco, Los Angeles, San Diego, Indianapolis, Dallas, Honolulu, Memphis, Minneapolis, New Orleans, Portland, St. Louis, Boston and Philadelphia. With them, Ms. Melançon toured internationally, frequently performing in England, making repeat appearances at London's Wigmore Hall, and in Japan and Israel.   She has a special affection for the music of today and is a serious interpreter of works of Gyorgy Kurtag, Mauricio Kagel and Zhou Long. The Israeli composer Shulamit Ran wrote a violin concerto for her and she has premiered several works by other leading composers. Among the artists with whom she enjoys collaborating are pianists Leon Fleisher, Gilbert Kalish and Peter Frankl, soprano Phyllis Bryn-Julson, and violist Roger Tapping.   During the spring of 2012, she presented the complete works for solo violin by J.S. Bach. She performs recitals annually, exploring unusual gems of the solo and violin-piano duo repertoire. Ms. Melançon is from Québec, Canada. After receiving First Prize in violin at the Conservatoire de Musique, she continued her studies with Ivan Galamian at the Curtis Institute of Music, with Isadore Tinkleman at the San Francisco Conservatory and with Arthur Grumiaux in Belgium. While at Curtis, she was a member of the Nisaika Quartet, prize winner of the 8th International String Quartet competition in Evian, France. Ms. Melançon is also the recipient of many awards for solo performance including the 1984 Prix d'Europe. In 1983, she formed the Knopp-Melançon Duo, an artistic collaboration which would eventually expand to become the Peabody Trio. In 1987, as a result of having been appointed USIA Artistic Ambassadors, the duo toured abroad extensively and made their Washington, DC debut at the Kennedy Center. Since then, her activities as a chamber musician, soloist with orchestras, and teacher have taken her to major music centers in the United States, Canada, Europe, the Middle East, and Japan.   She has participated in many summer festivals as violinist, teacher and guest artists, including those of Tanglewood, Ravinia, Skaneateles, Rockport, Orford, and Domaine Forget. She gives yearly masterclasses at the Green Mountain Chamber Music Festival, and teaches regularly at NOI, the National Orchestral Institute and Festival. For many years, she has served on the faculty of Yellow Barn   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Today we examine the fascinating and somewhat frustrating career of Gloria Davy (1931-2012). Yet another African American singer who found greater opportunity abroad than in the United States, Davy has the distinction of being the first Black singer to perform the title role of Verdi's Aida at the Metropolitan Opera, which role served as her debut in 1958. Another early career success came when she replaced Leontyne Price as Bess in an international tour of Porgy and Bess. Her earliest recordings, both live and studio, reveal a voice of uncommon beauty with an interpretive sensitivity to match. A superb musician, Davy also sang contemporary music throughout her career, including important premieres by Hans Werner Henze and Karlheinz Stockhausen. One must ask the question, however, if her voice would have been better served had she not turned to sung Bess and Aida so early in her career, but had instead had access to roles such as Anna Bolena, which she sang brilliantly at Town Hall in New York in 1957. The episode includes a rare airing of Davy's 1956 album of Spirituals, in arrangements by the lesser-known African American composer Julia Perry and excerpts from her recordings of Shulamit Ran's O the Chimneys, on poems by Nelly Sachs, and the 1972 revision of Stockhausen's momentous Momente. Countermelody is a new podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please also visit the Countermelody website for updates, additional content, and to pledge your support. www.countermelodypodcast.com

Flute 360 | Episode 45: “Competition Repertoire Guides with Amy Porter” (40:41) In today’s episode, Heidi talks with Amy Porter (University of Michigan) about the piece, “East Wind” by Shulamit Ran and Telemann’s Fantasie in A Major. Both pieces are repertoire requirements for TFS’ Myrna Brown Competition. Amy goes into great detail about these flute solos and gives excellent advice on how one could approach these works. Check out today’s episode to hear all the details! Episode 45 – Main Points: 0:25 – William S. Haynes Co. Website 1:37 – Competition advice from Amy. 1:47 – Amy’s lecture: Competition Repertoire, Research, and Rewards. 2:02 – Why are you doing the competition? 2:20 – “Competition is a great way to expand your repertoire!” – Amy 2:46 – “Play repertoire that best suits you.” – Amy 3:15 – Check the editions. 4:18 – “You are representing your work, your heart, and your knowledge.” – Amy 4:50 – “The rewards...who is anyone to judge us in the end? When what we are doing is beautiful.” – Amy 5:17 – “Never give up and keep leaping.” – Amy 5:40 – Flutists: Galway, Baxtresser, Rampal, and Baker 6:40 – Ran’s East Wind for solo flute. 7:02 – Amy Porter as 2010’s Texas Flute Society’s Guest Artist 7:19 – Seth Allyn Morris, flutist 9:28 – The opening of Ran’s East Wind. 9:48 – Articulation suggestion. 10:05 – Bridge the breath. 10:45 – The first two lines of East Wind. 11:09 – Biblical references. 11:55 – Correspondence between Professor Ran and Heidi. 12:26 – The different sections of East Wind from the composer. 13:17 – Flute 360’s Composers Series 13:59 – Telemann’s Fantasie in A Major. 14:09 – “The G# key is meant to mess you up!” – Amy 15:09 – “I call it defense playing: put your boxing gloves on.” – Amy 15:31 – “The word ‘yes’ is super powerful!” – Amy 15:47 – Amy’s DVD on Telemann’s Fantasies 16:47 – Telemann ended all of his fantasias with a dance. 17:06 – Keith Underwood’s suggestion about trills. 17:34 – Italian and French ornamentation. 17:48 – French ornamentation: essential, light, and quick. 17:57 – Italian ornamentation: florid and scalic passages. 19:05 – Kuijken, Brown, Beznosiuk – Baroque flutists 19:46 – “I’m ‘going to’ is the wrong vocabulary. I ‘will’ do the ornament here.” – Amy 19:58 – J. J. Quantz, flutist, flute maker, and composer 21:04 – Amy’s DVD: 30 Caprices by Karg-Elert 21:25 – Amy’s DVD: Anatomy of Sound 21:43 – Vibrato and Telemann 23:18 – Amy’s exercise with her students – listen here! 25:33 – Amy’s physical trainer, Larry. 25:57 – Yoga 27:27 – Flexible Mind, Flexible Body 28:46 – “The heart is a muscle. It has to be taxed, trained, and pushed!” – Amy 31:00 – Survival of the physical flutist. 31:40 – Reverse aging. 33:16 – Picks! 37:27 – Flute 360’s Series 1: Health (Episodes 1-4) Picks: Amy My Pinterest Boards! Over My Shoulder VogueBooge Candles Marco Polo App Episode 45 – Resources Mentioned: Amy Porter’s Website Amy Porter’s Teaching Website Amy Porter’s CDs, DVDs, and more! Amy Porter’s CD: The 12 Fantasias for Flute Without Bass, TWV 40:2-13 Amy Porter’s Instagram “East Wind” for solo flute by Ran – purchase here! Shulamit Ran’s Biography Texas Flute Society’s Myrna Brown Competition William S. Haynes Company’s Instagram William S. Haynes Company’s Twitter Heidi Kay Begay’s Website Episode 45 – Sponsors: Gold Level: William S. Haynes Co. Website Silver Level: Contact Heidi for more details! Bronze Level: J&K Productions’ Website Program Notes: EAST WIND (l987) EAST WIND for solo flute was commissioned by the National Flute Association for its annual Young Artists Competition, and was first performed by the six semi-finalists at the l988 San Diego NFA Convention.  The work’s opening motif is a slightly varied treatment of the simplest of ideas – a single note which is then encircled in a flourish-like gesture by its neighboring tones, consisting of a half step above and whole step below.  It is this varied treatment, though, immediately conveying a hint of ecstasy and abandon, that imbues the motif with its distinctness and recognizable quality, maintained throughout the journey undertaken as the piece unfolds. EAST WIND’s central image -- from within its ornamented, inflected, winding, twisting, at times convoluted lines, a gentle melody gradually emerges... The work is dedicated to the memory of Karen Monson, a writer, critic and friend, who died in February 1988 at the age of 42, after the work was already fully composed. -Shulamit Ran

Pulitzer Prize-winning composer Shulamit Ran crafts music of an intimately personal nature, making her one of the most often performed composers of her generation. We'll talk with Shulamit about her music, the Contempo music series, and her legacy at the University of Chicago, where she was a highly regarded professor for many years. Hosted by Seth Boustead Produced by Jesse McQuarters PLAYLIST Shulamit Ran: Concerto for Violin and Orchestra, II (excerpt) BBC Concert Orchestra/Charles Hazlewood; Ittai Shapiro, violin Ran: Legends, I Chicago Symphony Orchestra/Barenboim Ran: Credo/Ani Ma'amin Chanticleer Ran: Concerto for Violin and Orchestra, I & II BBC Concert Orchestra/Charles Hazlewood; Ittai Shapiro, violin Ran: Mirage (excerpt) Da Capo Chamber Players

VIDEO: The Pacifica Quartet & Anthony McGill Play Mozart When a long-established string quartet brings in a fifth collaborator, questions inevitably arise: how will the four players interact with the newcomer? Who will call the shots in rehearsals, and how does the group dynamic change? When the Pacifica Quartet gave a performance of the Mozart Clarinet Quintet in the WQXR Café, that fifth member was Anthony McGill, the principal clarinetist of the Metropolitan Opera Orchestra. He recently recorded the clarinet quintets of Brahms and Mozart with the Pacifica, for an album due out next spring. "It's great to have that influx of new energy and new thoughts," Pacifica violist Masumi Per Rostad told host Jeff Spurgeon. "It changes our rehearsal process. It changes the way we interact with each other when it's just the four of us." McGill joked that the group puts on its polite company face when he enters the room. "What's kind of funny about that, especially with a string quartet, is that most of the time, you’re really welcome, because they spend a lot of time with each other,” said McGill. "Every group has its own specific dynamic and it’s really fascinating to be able to feel that." Along with his job at the Met, McGill is active as a chamber musician and soloist. He encounters a lot of Mozart, be it his chamber music or operas like Cosi fan tutte. "The way he captures the overtones and the sweetest part of the instrument is better than any other composer," McGill said of his clarinet writing. "The part of the instrument that sounds like the human voice – that’s the part that he zeroes in on and uses to the best of his abilities." The Pacifica's Cafe Concert came one day after the quartet appeared at Carnegie’s Zankel Hall to perform with another notable artist, pianist Marc-Andre Hamelin, in the rarely-heard Leo Ornstein Piano Quintet. Next year, the ensemble will mark its 20th anniversary with the premieres of commissioned works by Shulamit Ran and Julia Wolfe, the latter of which will be a string quintet with cellist Johannes Moser. The Pacifica has seen other changes lately too. Last year, the group left the University of Illinois after nearly a decade as the resident quartet to join the Indiana University Jacobs School of Music. It is the first quartet-in-residence at a school with a long string pedagogy tradition but much less of a chamber music bent. The quartet now teaches some 35 ensembles. Does the name “Pacifica” – a holdover from the group’s founding in Los Angeles – ever seem strange given their Midwestern orientation now? “It’s a nice name and we’ve been happy with it," said Rostad. "Our students like to joke that they could call us the Cornfield-ica.” Video: Amy Pearl; Sound: Noriko Okabe; Text & Production: Brian Wise

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Shulamit Ran, the Andrew MacLeish Distinguished Service Professor of Music at the University of Chicago, discusses how the new Reva and David Logan Center for the Arts inspired her composition "Logan Promenades," which premiered at the launch of the Logan Center in October 2012.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Watch an exciting evening of new works and dynamic performances celebrating the opening of the Reva and David Logan Center for the Arts, featuring UChicago faculty, students, and alumni, as well as partners and performers from across Chicago. This special dedication ceremony was webcast via UChicago Live. Program: - Performance by Manual Cinema - Welcome Remarks by Thomas Rosenbaum, Provost - Logan Promenades: composition by Shulamit Ran; Performed by Kari Lee and Matthew Lee - Introduction by Larry Norman, Deputy Provost for the Arts - Poem by Adam Zagajewski - "Great Art is Born Out of Community" video - Remarks by Michelle Boone, Commissioner, Department of Cultural Affairs and Special Events, City of Chicago - Spoken word performance by students of the University of Chicago Woodlawn Charter School - "Logan Center Teaser" video - Dedication Address by Robert J. Zimmer, President - "Remembering David Logan (1918-2011)" video - Introduction by Bill Michel, Executive Director of the Logan Center - Ribbon Cutting with a performance by the University Symphony Orchestra and University of Chicago Choirs

I fjärde programmet möter vi två två pionjärer inom den nutida konstmusiken, två tonsättare med judiska anor från Ryssland: Faye-Ellen Silverman, infödd Manhattanbo, och Shulamit Ran, som pendlar mellan Israel och USA. De båda tonsättarna studerade faktiskt under en period samtidigt på Mannes College of Music på Manhattan. Faye-Ellen Silvermans morfar kom från Ryssland till New York vid 1900-talets början. Strax efter ryska revolutionen anlände hennes far till Manhattan. Faye-Ellen började på Dalcroze School of Music i New York när hon var 4 år. Mamman skrev ner orden till Faye-Ellens egna kompositioner när hon var alltför liten för att stava men redan kunde skriva noter. När hon var 13 år var hon en av fem vinnare i en kompositörstävling där den berömda brittiska dirigenten Leopold Stokowski satt i juryn. Det ledde till konsert i Carnegie Hall och uppmärksamhet i radio, TV och tidningar. Det var då Faye-Ellen bestämde sig för att kalla sig tonsättare. -Jag var kanske dum, men innan hade jag haft skyddslappar och trott att alla komponerade musik, skrattar Faye-Ellen Silverman. 1962 hindrades hon från studier i musik vid Columbiauniversitetet. Orsak: hon var kvinna. Faye-Ellen Silverman tog sin master i musikkomposition på Harvarduniversitetet. På kompositionsavdelningen skrev en av de anställda offentligt att ”Det finns ett och annat som kvinnor inte bör göra, nämligen skyffla kol och komponera musik”. Senare fick hon tillträde till Columbia för sin doktorsgrad i musikalisk komposition. 1982 representerade Faye-Ellen Silvermans stycke Oboe-sthenics USA vid Rostrum, vilken är den globala tävlingen för tonsättare. I den välrenommerade musikhistorien ”Schirmer history of music”, som gavs ut 1982, skrev Faye-Ellen Silverman kapitlet om 1900-talets musik och förhindrade att alla kvinnor uteslöts ur manuset till boken. På hennes CD Manhattan Stories finns stycket Protected Sleep, som är en fantasi över melodin i den sefardiska vaggsången Durme Durme. Stycket Left Behind komponerade Faye-Ellen Silverman till hornspelaren Ann Ellsworth, vars make inkallats till Irak. På CD’n Transatlantic Tales samarbetar Faye-Ellen Silverman med den danska gitarrkvartetten Corona och dess ledare Volkmar Zimmerman. Fay-Ellen Silvermans hemsida: http://www.fayeellensilverman.com/ Tonsättaren Shulamit Ran växte upp i Tel Aviv och började tidigt spela piano och skriva musik. När hon var sju år blev några av hennes sånger antagna till ett barnprogram i Israelisk radio. -Det var en underbar känsla och det var då jag bestämde mig för att bli tonsättare, berättar Shulamit Ran. Som 14-åring flyttade hon till New York för att studera musik på Mannes College of Music. Detta var avgörande för hennes fortsatta möjligheter att komponera och få sina stycken framförda. 1990 valde dirigenten Daniel Barenboim Shulamit Ran till Composer-In-Residence hos Chicagosymfonikerna. Där arbetade hon under sju säsonger. Shulamit Ran är professor vid University of Chicago och hedersdoktor vid fem andra institutioner. Hon är invald både i American Academy of Arts and Letters och American Academy of Arts and Sciences. Som andra kvinna någonsin fick hon 1991 Pulitzerpriset för sin Symfoni som skandalöst nog aldrig spelats in. Prisjuryn skrev så här: ” Shulamit Rans musikalisk fantasi och konstnärliga uppfinningsrikedom har en överlägsen kvalitet”. Om hennes musik har det också skrivits att den är tonsatt med ”samma känsla för mänskligheten som Mozarts mest djupsinniga operarior och Mahlers sökande symfonier”. Flera av Shulamit Rans stycken har kryddats av mellanösterns speciella tonskalor. Även Shulamit Rans enda opera Between Two Worlds The Dybbuk, från 1997, drabbades av ödet att inte bli inspelad. - Men om jag skulle tänka på detta hela tiden så skulle jag bli väldigt olycklig. Så jag gör det alla tonsättare måste göra, tänka framåt och fortsätta komponera! Men jag hoppas förstås att min Symfoni kommer att spelas igen någon gång i framtiden, säger Shulamit Ran. När hon komponerade de fyra första tonerna i sin Violinkonsert från 2003 tänkte hon på sin mor, som ”hade ett stort djup och en stor känslighet – och dessutom visdom och intuition”. Varje kväll sjöng modern Brahms Vaggsång Guten Abend, guten nacht vid sängkanten. Därför avslutas Violinkonserten med att fiolen spelar denna melodi högt upp i registret. Shulamit Rans hemsida: http://www.presser.com/Composers/info.cfm?Name=SHULAMITRAN