http://www.southampton.ac.uk/music/news/news.shtml University of Southampton Music newsfeed en-gb Copyright University of Southampton, http://www.southampton.ac.uk/inf/copyright.html Mon Mar 8 20:51:15 +0000 2010 Information Systems Services, Interwoven TeamSite http://blogs.law.harvard.edu/tech/rss http://www.southampton.ac.uk/img/furniture/rss_logo.png http://www.southampton.ac.uk/music/news/news.shtml 144 31 http://www.southampton.ac.uk/music/news/2010/03_05_holloway.shtml Postgraduate research student George Holloway has just begun a semester in Taipei as part of an exchange between the University of Southampton and the National University of Taiwan. He plans to compose a new piece for Southampton's Professor David Owen Norris, for a Taipei recital in April, and to continue working on the libretto and music for his first opera. http://www.southampton.ac.uk/music/news/2010/03_01_norris.shtml Professor David Owen Norris's latest Building a Library for Radio 3's CD Review, broadcast on 20th February, was on Debussy's Suite bergamasque. His top pick was Daniel Ericourt, who was a friend of the Debussy family: as a child prodigy he played a two-piano recital with the composer, and turned his pages for the premiere of the Cello Sonata. In the 1920s Ericourt toured with Georges Enesco and Isadora Duncan, before moving to America, where he ended up as Artist-in-Residence at the University of North Carolina at Greensboro School of Music. Ericourt recorded Debussy's Complete Piano Works in New York for Kapp in the 1960s. http://www.southampton.ac.uk/music/news/2010/04_03_orchestra.shtml University of Southampton music students are leading an unusual project to show children in several of the city’s schools how the sound of a symphony orchestra is created. “Even children who don’t have an obvious interest in classical music will have heard an orchestra before – on film soundtracks, adverts and even computer games,” says President of the Southampton University Symphony Orchestra (SUSO), Kat Hattersley. “However, many don’t get the opportunity to see an orchestra perform in a concert venue. Our project aims to break down this barrier and bring live music direct to their school hall.” http://www.southampton.ac.uk/music/news/2010/25_02_sawhney.shtml On Tuesday March 16th, the producer, musician and composer Nitin Sawhney will be running on-campus workshops with over 100 local schoolchildren as part of the Creative Campus Initiative. The workshops, run with the International Writing Fellow Maggie Harris, will focus on the relationship between words and texts, and will also involve student volunteers from Music as well as English students from the 'International Writing in Schools' module. The workshops will culminate with a public talk at the Turner Sims by Nitin, who will present a retrospective of his career through film clips and musical performances. http://www.southampton.ac.uk/music/news/2010/01_08_mliconference.shtml Postgraduates Michael Gale (Music) and Louise Rayment (English) have organized an interdisciplinary conference for postgraduate students and early career researchers: Music, Literature, Illustration: Collaboration and Networks in English Manuscript Culture, 1500 – 1700. The conference, hosted by the Centre for Medieval and Renaissance Culture, University of Southampton, and funded by the AHRC, will take place at Chawton House Library on 16-17 February. http://www.southampton.ac.uk/music/news/2009/12_10_times.shtml CDs of work by three Southampton staff members have been picked for The Times’ 100 best albums of 2009. Described as ‘the pick of the music releases from pop, rock, world, jazz and classical’ the list includes Michael Finnissy’s Greatest Hits of All Time and Michael Zev Gordon’s On Memory in the Contemporary category, and Purcell’s Dido and Aeneas in a version co-directed by Elizabeth Kenny in the Classical choice. http://www.southampton.ac.uk/music/news/2009/12_10_everist.shtml A new collection of essays, Music, Theater and Cultural Transfer: Paris, 1830-1914 has just been published by Chicago University Press. Edited by Mark Everist, Professor of Music at Southampton, and Annegret Fauser (University of North Carolina at Chapel Hill), the book contains 15 chapters on stage music in nineteenth-century Paris. Everist’s own chapter concentrates on Offenbach’s reuse of Mozart and Rossini to give credibility to his emerging status in the 1850s. http://www.southampton.ac.uk/music/news/2009/12_02_kenny.shtml Elizabeth Kenny has recently gathered enthusiastic reviews for two recording projects relating to her research on English seventeenth century music. Flying Horse: The ML LuteBook (Hyperion Records CDA67776) is a collection of lute music from 1610-1630, striking in its emotional range, its flitting between the English renaissance and early French baroque styles, and some no-prisoners ornamentation. The other project, Purcell: The Food of Love (Naive Ambroisie AM185) was recorded with an international group of Paul Agnew (tenor), Anne Marie Lasla (bass viol) and Blandine Rannou (harpsichord and organ), and reflects on Purcell's relationship with the tenor voice. It continues Kenny's series of recordings in which influences from the masque on vocal ornamentation and national style are played out in chamber music. http://www.southampton.ac.uk/music/news/2009/11_26_mirka.shtml Oxford University Press has just released a new book by Senior Lecturer Dr Danuta Mirka. In Metric Manipulations in Haydn and Mozart, Dr Mirka combines historical music theory with the cognitive study of music, placing the ideas of eighteenth-century authors into dialogue with modern theories of meter and rhythm. The result is an innovative and illuminating reinterpretation of late eighteenth-century music which sheds new light on this repertoire, reveals the aesthetic function of metric manipulations by Haydn and Mozart and redefines the role of meter and rhythm in Classic music. http://www.southampton.ac.uk/music/news/2009/11_22_nicholls.shtml David Nicholls's musical biography of John Cage (University of Illinois Press, 2007) has been reissued in Spanish translation by the distinguished house of Turner Libros (Madrid and Mexico City, 2009). The highly-regarded volume has sold well in its English version, and is now available to Cage's many admirers in Spain, and Central and South America. The appearance of the translation coincides with a major exhibition devoted to Cage at the Museo de Arte Contemporáneo de Barcelona. http://www.southampton.ac.uk/music/news/2009/10_17_norris.shtml David Owen Norris presents Radio 3's Sunday Morning (10am till 12 noon) from October 25th till November 15th. Norris is enriching the scripts with new information from colleagues' current research here at Southampton. http://www.southampton.ac.uk/music/news/2009/19c_conference.shtml The Sixteenth Annual Conference on Nineteenth-Century Music will take place at the University of Southampton between 8 and 11 July 2010. The Department of Music is proud to host this event on the thirtieth anniversary of its first edition. The bicentenaries of Schumann, Chopin, Clara Elssler, Ole Bull, and Otto Nicolai make this a very special year for nineteenth-century music, and we will have an opportunity to celebrate Jane Austen and her legacy in her native Hampshire. http://www.southampton.ac.uk/music/news/2009/09_10_hadden.shtml The September issue of Gramophone magazine includes a glowing review of a new CD by Nancy Hadden, AHRC Research Fellow in the Creative and Performing Arts at Southampton. Nancy's fellowship project focusses on sixteenth- and seventeenth-century music for the Renaissance flute, and this is the first recording to come out of her research. According to the Gramophone reviewer, 'These are extraordinary performances, poised and delicate yet infused with passion and a real sense of yearning'. http://www.southampton.ac.uk/music/news/2009/08_23_classicfm.shtml Two of Southampton’s AHRC fellows in the Creative and Performing Arts have been nominated for prestigious Classic FM Gramophone awards this year. Stephen Rice and the Brabant Ensemble figure in the Early Music category for their Morales recording on Hyperion, and Adrian Chandler and La Serenissima have been selected for their recording of Vivaldi concerti in the Baroque instrumental category. There are three nominations in each category, so we watch with anticipation for the final decision on 3 October. http://www.southampton.ac.uk/music/news/2009/12_08_stras.shtml University of Southampton music lecturer Dr Laurie Stras has collaborated with fellow musicians to record 16th century convent music as it might have been performed 450 years ago. Laurie and her colleagues in the ensemble Musica Secreta worked closely with writer Sarah Dunant to devise and record a musical score for her new novel Sacred Hearts, which is set in an Italian Benedictine convent. http://www.southampton.ac.uk/music/news/2009/04_08_fisher.shtml Lecturer in Composition Andrew Fisher orchestrated and conducted the score by Richard Blair Oliphant for a new TV film, broadcast on ITV 1 on 20th July. Moon Shot, produced by Dangerous Films, is a fact-based drama following the astronauts of Apollo 11 in the years leading up to the lunar mission. http://www.southampton.ac.uk/music/news/2009/29_06_austen.shtml This July, Music staff and students are joining Southampton colleagues to celebrate the 200th anniversary of Jane Austen’s arrival at Chawton House, which inspired some of her most famous novels. “Jane’s move to Chawton was a pivotal moment for her. Although she’d written before her arrival, it was having an established home on the estate which sparked her most prolific period of writing,” comments lecturer in English and academic advisor to Chawton, Dr Gillian Dow. “One might say that this was her ‘spiritual home’, the place where she was at her most creative.” http://www.southampton.ac.uk/music/news/2009/06_26_wurzburg.shtml The first book in a new multi-volume series - Structura et Experientia Musicae: Southampton-Würzburg Studies in Eighteenth-Century Musical Culture - has just been published by the Are Musik Verlag of Mainz, Germany. The series's general editors include Music Lecturer Dr Thomas Irvine and Visiting Research Fellow Dr Wiebke Thormählen. 'Apolls musikalische Reisen. Zum Verhältnis von System, Text und Narration in Johann Nicolaus Forkels Allgemeiner Geschichte der Musik (1788–1801)' (Apollo's Musical Journey: On the Relation of System, Text and Narration in Johann Nicolaus Forkel's General History of Music.) is by Dr Oliver Wiener of the University of Würzburg, also a general editor. It is the first monograph on the the writings and thought of the influential eighteenth-century music historian. http://www.southampton.ac.uk/music/news/2009/06_11_serenissima.shtml La Serenissima has just released a new CD, Vivaldi: The French Connection (AVIE AV 2178), of Vivaldi concertos for violin, flute and bassoon. The violin soloist is La Serenissima's director, Adrian Chandler, who held an AHRC Fellowship in the Creative and Performing Arts in the Department of Music from 2005-2008, and the flute soloist in the concertos is Southampton’s flute tutor, Katy Bircher. Katy plays a specially commissioned new flute at high Venetian pitch for this recording, the first in a two-part project to be completed in 2010. http://www.southampton.ac.uk/music/news/2009/06_08_agendas.shtml For many modern writers and composers, music and literature make an ungainly combination. Yet recent years have seen British composers enlist a series of high-profile literary collaborators for operatic works, from Ian McEwan and Simon Armitage to Seamus Heaney and Vikram Seth. How might this change the relationship between the libretto and the performed work? What questions does the raise about the way modern operatic music is being listened to and disseminated? What are the pragmatics of interdisciplinary collaboration? Setting Agendas: Text-Setting and the Libretto in Contemporary British Music, is a one-day conference that will approach these questions in a variety of ways. Poets and composers who have worked together will offer their own perspectives on collaborative projects, academics whose work has focused on the British libretto will trace recent developments in the form, and leading British composers will explore how practical and aesthetic considerations inform their use of the written word.