Jeudi, Mai 23, 2019
Titre de l'événement: 6th International Istabul Guitar Festival
Description:

Internationally celebrated guitarist Ruben Bettencourt from Azores presents the premiere of "Estatico" at the International Istanbul Guitar Festival in Turkey..

wilbeau picture
by wilbeau
on February 16, 2019

I was going through my Facebook notifications in November 2018, when I noticed that Frank Wallace had come through a difficult year of health issues. Through Frank’s postings over the years, I noted that we shared similar interests, like writing for guitar and voice, or being inspired by medieval music, so I was happy to hear of his return to health. Having had a year with some health issues myself; I was glad that both of us were still active and relatively healthy.

Andrew Staniland
Compositeur
Andrew Staniland
Date de composition : 2015
Durée: 00:15:00
Genre: Strings (plectral), Ensemble, Mixed Ensembles, Duet

Instrumentation:

Instrumentation no. 1:
  • 1 x Guitare
  • 1 x Harpe
Cliquez ici pour télécharger l'œuvre intégrale (10.17 Mb - version non imprimable)

Notes de programme :
Composing this work was a lesson in creativity for me. I had set out with a goal to write a jousting, competitive dual for 2 virtuoso players. I had a meticulous plan made of chords, pitches, long term structure, and candezas. I began to write, and out came what I immediately recognized as a totally different piece. This was a junction: One road would leverage my technique as a composer to will my plan into being. The other would abandon my preconceived ideas, instead listening deeply to the music that had emerged, pursuing it with technique in tow. So which to choose? I followed the music, and Equations/Constellations is the result. The title Equations/Constellations comes directly from an email response that harpist Sanya Eng had sent me in response to a pre-compositional interview: Staniland: “What is it about the combination for guitar/harp and or Rob (MacDonald)/Sanya (Eng) that excited you to want to do a program together? Eng: “After working with Rob (MacDonald) on the Leroux I knew in my gut that I had to explore this combination of instruments further not only because of how fantastic the pairing can sound when done right, but also because of how great it is to work with Rob. I truly believe that amazing things happen when all the elements align, and this is one of those equations/formulas/constellations”. I liked the musical possibilities of the terms, and the way the hyphen suggests a formula or process of modulation of the two concepts.

The piece unfolds as follows:
I Equations
Equation 1: “Dreaded Sea Angels” Equation 2: “Expansion”
II Constellations
Constellation 1: “Hubble Hauptstimme: Omega Centauri with imagined lensing”
Constellation 2: “Again, Higher”
III Equations/Constellations: “Ludus”

In Equations, the subtitle “Dreaded Sea Angels” references two of my recent works Dreaded Sea Voyage, for guitar and electronics, and Four Angels, for orchestra. The tetrachoral motif in this movement combines traits from these 2 pieces, creating a new hybrid motif which is explored timbrally, finding its way through similarity (equation) and difference (non-equation) in both register and instrumentation. In Constellations, inspired by Sanya Eng’s interview, I took a photo from the Hubble Space Telescope (a close-up of the Star Cluster Omega Centauri), taped it to a piece of manuscript, and poked a bunch of holes in the image that aligned with bright stars. I then peeled back the photo to reveal the music that appeared on the manuscript. The resulting melody appears as a long delicate phrase with a subtle Renaissance sound to it due to a modal treatment. In its 2 appearances, it is written in strict canon as a musical metaphor to Einstein’s theory of gravitational lensing, where light from the cosmos can appear distorted, and even appear in multiple places. The work concludes in Equations/Consellations: Ludus, latin for game. Here the instruments interact with a rhythmic riddle using percussive and melodic ideas drawn from the previous 2 movements. The writing is joyful, underlied by a mysterious riddle/formula/equation/constellation. Equations/Constellations was commissioned by Daniel Cooper, and is dedicated to harpist Sanya Eng and guitarist Rob MacDonald.

Renseignements sur la création :
31 March 2017, Music Gallery, Toronto, Ontario
Rob MacDonald, Guitar; Sanya Eng, Harp

INFOS SUR LE CATALOGUE :

  • Cote:
  • MI 4242 S784equ
  • Genre:
  • Strings (plectral), Ensemble, Mixed Ensembles, Duet
  • Date d'acquisition :
  • April 24, 2017
  • Type:
  • Partition, inédite
  • Description physique :
  • Score
    34 pages
    Hauteur: 30 cm
    Largeur: 23 cm
    Nombre total de pages des parties: 37
    2 parts
    37 pages
    Hauteur: 30 cm
    Largeur: 23 cm
  • Renseignements supplémentaires :
  • Equations
    Constellations
    Equations/Constellations: “Ludus”

    Commissioned By: Daniel Cooper
    Dedicated to Rob MacDonald and Sanya Eng
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Produits disponibles pour cette pièce :

TitreDétailsPrixAjouter ce produit
Equations/Constellations for guitar and harp de Andrew Staniland (Partition)
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Equations/Constellations for guitar and harp de Andrew Staniland (Partition et Parties)
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Equations/Constellations for guitar and harp: Partition
Partition
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$19.99
Equations/Constellations for guitar and harp: Partition et parties
Score and Parts
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$40.99
Equations/Constellations for guitar and harpVous pouvez obtenir une copie papier de cette œuvre pour:
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William Beauvais
Compositeur
William Beauvais
Date de composition : 2017
Durée: 00:13:00
Genre: Solo Voice, With Chamber Ensemble, , Plectral String / String Bowed

Instrumentation:

Instrumentation no. 1:
  • 1 x Guitare
  • 1 x Voix non spécifiée
  • 1 x Violon
Cliquez ici pour télécharger l'œuvre intégrale (8.47 Mb - version non imprimable)


Renseignements sur la création :
1996, Music Gallery, Toronto, Ontario
William Beauvais, guitar; Linda Eyman, voice; Julian Knight, violin

INFOS SUR LE CATALOGUE :

  • Cote:
  • MV 1206 B385it
  • Genre:
  • Solo Voice, With Chamber Ensemble, , Plectral String / String Bowed
  • Date d'acquisition :
  • April 13, 2017
  • Type:
  • Partition, inédite
  • Description physique :
  • Score
    14 pages
    Hauteur: 28 cm
    Largeur: 22 cm
  • Information sur la langue
  • Langue principale: Anglais
  • Renseignements supplémentaires :
  • Like Two Branches
    Poem For A Dark Woman
    Love As Though
    What Dew Is
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Suggérer une modification à cette entrée

Disponible Pour :

  • Prêt de la musicothèque
  • Service d’impression sur demande
  • Service de location

Musiflots:

Click here to listen to It Might Come Down To Our Love for baritone, violin, and guitar in Centrestreams.

Produits disponibles pour cette pièce :

TitreDétailsPrixAjouter ce produit
It Might Come Down To Our Love for baritone, violin, and guitar: Partition
Partition
(Format PDF téléchargeable)
$8.99
It Might Come Down To Our Love for baritone, violin, and guitar de William Beauvais (Partition)
L'impression sur demande
$10.99
It Might Come Down To Our Love for baritone, violin, and guitarVous pouvez obtenir une copie papier de cette œuvre pour:
  • Loan (free)
  • Rental
en cliquant sur la touche Ajouter à la liste de demandes à droite
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Des copies de cette pièce sont disponibles pour le prêt de: Toronto, Calgary






wilbeau picture
by wilbeau
on April 10, 2017

Editing creates more and more sense out of a work or text. Everything in a piece is there for more than one reason; a chord might support the melody and develop a counter melody. An inner voice might give breathing room to the main tune but add a small, unexpected surprise to the texture.

I have just re-imagined a set of songs originally written over 20 years ago and observe that the harmonies were chosen often to clash with the vocal line. They were chords and clusters selected with joy, I was happy just to play them so long ago, but now I work to meld them into a cohesive shape.

wilbeau picture
by wilbeau
on July 20, 2016

I believe we have to rehearse differently depending on our state of mind. In order to process lots of data effectively we must be alert and have the necessary energy to do so. For this reason learning new pieces or new habits requires more energy while reviewing older pieces takes less.

wilbeau picture
by wilbeau
on April 23, 2016

Sometimes there is a bit of shame, in the last few weeks I have been practicing and recording improvisations. When you are trying ideas for the first time peculiar things happen. Today for example, playing along with my eyes closed I could have sworn my fingers were at the 2nd fret but they were really at the 5th. Other times I began to play a line that was clear for the first few notes then got fuzzy, resulting in lots of clicks and confusion. At times I have taken the Miles Davis approach – “there are no mistakes”. I just repeat the click and try to make it a feature of the passage.

wilbeau picture
by wilbeau
on March 7, 2016

I had a very special experience while playing a concert on the weekend: it seemed like a good idea to open with an improvisation. The spontaneous creation led straight into the first programmed work winding up on the first note of the opening piece. Something told me to wait for the nervous energy to dissipate before moving into the official program. The transition worked remarkably well, putting me right into the zone where I could give maximum expression the to programmed work.

Samedi, Septembre 28, 2013
Titre de l'événement: Romancero Gitano: Choir & Guitar

Étiquettes:

  • Compositeur : Imant Raminsh
  • Composition: --
  • Profil de votre communauté: --
Description:

Vancouver Chamber Choir
Heiko Ossig, guitar
Jon Washburn, conductor

Join the Vancouver Chamber Choir for the opening concert of our 43rd concert series. The feature work is Mario Castelnuovo-Tedesco’s fiery "Romancero gitano", based on Spanish poems of Frederico García Lorca for which we are joined by our special guest artist - German guitarist Heiko Ossig. We celebrate the 70th birthday of BC composer Imant Raminsh with Latvian Folk Songs and explore other European colours through great choral music and poetry of Debussy and Charles d’Orléans, Hindemith and Rainer Maria Rilke, Rautavaara and even more García Lorca.