#Jennifer Higdon
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mozart2006 · 1 year ago
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Internationale Hugo-Wolf-Akademie - Thomas Hampson e Wolfram Rieger
Foto ©IHWA La Hugo-Wolf-Akademie ha concluso la sua stagione con il recital di un’ autentica star del canto come Thomas Hampson, Continue reading Untitled
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officiallanxichen · 2 years ago
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hit up my inbox for cool queer composer facts i would love to tell you some <3
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hoeforseungcho · 24 days ago
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Average Ages Of Mass Shooter’s Victims
It's a long list, so I added a page break.
7.0 - Patrick Purdy
7.4 - Thomas Hamilton
9.0 - Charles Roberts IV
13.4 - Salvador Ramos
13.8 - Wellington de Oliviera
14.3 - Jaylen Fryberg
14.5 - Li Zhongren
15.4 - Adam Lanza
16.0 - Ethan Crumbley
16.3 - Victor Hoffman
16.6 - Dylan Klebold
16.8 - Kosta Kecmanovic
17.0 - Robert Smith
17.8 - Tyler Peterson
18.0 - Michael Clark
19.6 - Nikolas Cruz
19.9 - Eric Harris
20.0 - Elliot Rodger
20.1 - Larry Ashbrook
21.0 - Matthew Murray
21.6 - Mauricio Garcua
23.0 - Steven Kacmierzak
23.3 - Travis Reinking
23.6 - Tim Kretschmer
23.7 - Marc Lepine
24.1 - Matti Saari
25.3 - Dimitrios Pagourtzis
25.3 - James Huberty
25.7 - Vladislav Roslyakov
25.8 - Chase Garvey
26.2 - James Holmes
26.5 - Gonzalo Lopez
26.8 - Pekka-Eric Auvinen
26.8 - Seung-Hui Cho
27.0 - Noah Esbensen
27.7 - Timur Bekmansurov
28.2 - Jeff Weise
28.3 - Michael Silka
28.5 - Ruslan Akhtyamov
28.8 - Wesley Higdon
29.3 - Sterling Hunt
29.4 - Omar Mateen
29.8 - Muhammad Abdulazeez
30.0 - Charles Whitman
30.0 - Colt Gray
30.8 - Kimbrady Carriker
31.7 - Phasid Trutassanawin
32.0 - Todd Kohlhepp
32.6 - Anderson Aldrich
32.8 - Chris Harper-Mercer
33.1 - One Goh
33.2 - Connor Betts
33.2 - Howard Unruh
33.3 - Ryan Palmeter
33.7 - Solejman Talovic
33.8 - Thomas McIlvane
34.8 - Audrey Hale
35.0 - Cedrid Ford
35.3 - Snochia Moseley
35.7 - Richard Farley
35.7 - Richard Poplawski
35.8 - Chai Vang
36.0 - Robert Dear Jr.
36.3 - Mark Essex
36.4 - Nidel Hasan
37.0 - Noah Harpham
37.3 - Radcliffe Haughton
37.9 - James Pough
38.0 - Ivan Lopez
38.2 - Gary Martin
38.4 - Mark Baton
38.7 - Patrick Sherill
38.8 - Leo Held
39.3 - Joaquin Roman
39.5 - Maurice Clemmons
39.6 - Stephan Paddock
39.7 - John Parish
39.7 - Michael McLendon
40.1 - Gian Ferri
40.2 - Andre Bing
40.4 - Edward Allaway
40.7 - Albert Wong
41.0 - Gavin Long
41.0 - Jonathan Sapirman
42.0 - William Bonner
42.3 - Michael McDermott
42.4 - Lyndon McLeod
42.8 - Eduardo Sencion
43.0 - Zane Floyd
43.2 - Ian Stawicki
43.6 - Micah Johnson
44.3 - George Sodini
44.3 - Terry Ratzmann
44.9 - Jennifer San Marco
45.0 - Randy Stair
45.1 - Samuel Cassidy
45.4 - Brian Uyesegi
45.7 - Jiverly Wong
45.8 - Herman Klink
46.1 - Robert Card
46.3 - Timothy Hendron
46.6 - Ahmad Al Aliwi Al-Issa
47.0 - Brandon Hole
47.3 - Kenneth Tornes
47.5 - William Baker
48.4 - Zephen Xaver
48.7 - Ronald Taylor
48.8 - Anthony Ferrill
49.4 - Robert Hawkins
49.8 - Joseph Wesbecker
50.3 - Carl Brown
50.7 - Jimmy Lam
50.8 - Isaac Zamora
51.0 - Douglas Williams
51.0 - Kevin Neal
51.2 - Andrew Engeldinger
51.3 - Amy Bishop
52.6 - George Hennerd
53.8 - Connor Sturgeon
53.8 - John Neumann Jr.
54.1 - Scott Dekraai
54.4 - Omar Thornton
54.6 - Robert Long
55.0 - Jarrod Ramos
55.2 - Charles Thornton
55.5 - Jared Loughner
55.8 - Aaron Alexis
55.7 - Jason Dalton
55.9 - Wade Page
56.1 - Dylann Roof
57.3 - Anthony Polito
57.6 - Arcan Cetin
58.3 - Chunli Zhao
59.1 – Patrick Crusius
62.0 - Robert Crimo III
62.1 - Payton Gendron
66.9 - Huu Can Tran
73.8 - Robert Bowers
79.3 - Robert Stewart
83.3 - Beau Wilson
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depressedraisin · 1 year ago
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classical pieces that give me the same energy as the car
my classical phase is coming back bear with me
sergei rachmaninoff- morceaux de fantaisie op. 3 no. 1: elegie (sheku kaneh mason, cello & isata kaneh mason, piano)
jennifer higdon- harp concerto movt. 3: lullaby (yolanda kondonassis, harp; rochester philharmonic, orchestra)
pt. ravi shankar, philip glass- ragas in minor scale (ravi shankar, sitar et. al)
gian carlo menotti- violin concerto (jennifer koh, violin; spoleto festival orchestra)
erich korngold- theme for deception (1946)
einojuhani rautavaara- deux serenades no. 1: serenade pour mon amour (hilary hahn, violin; orchestre de philharmonique radio france)
franz schubert- nacht und träume, op. 43, no. 2 (peter pears, voice & benjamin britten, piano)
sergei prokofiev- piano concerto no. 3, op. 26 (martha argerich, piano; berliner philharmoniker orchestra)
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spacelazarwolf · 1 year ago
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What are some of your favorite operas?
my absolute favorite is l’elisir d’amore. i also really like mozart’s operas in general. love puccini, and i did an aria from jennifer higdon’s cold mountain a few years ago and it was amazing.
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ioboesess · 4 months ago
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100 Days of Practice, Day 1
Today I started working on audition excerpts for band/orchestra auditions in September. Our excerpts are from the Mozart oboe concerto (always), Jennifer Higdon’s Concerto for Orchestra, and the overture to Rossini’s La Scala di Seta. My chops have been weakened™️ by my inconsistent practice since school got out (since before school got out tbh), so I was only able to get through 40 minutes of practice.
Practice breakdown:
10 minutes of long tones
10 minutes of scales
10 minutes of Mozart
10 minutes of Higdon
Total cumulative practice time: 40 minutes
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sloshed-cinema · 2 years ago
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Tár (2022)
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If Mahler stated that a symphony should be the world, then Lydia Tár’s professional symphony is crumbling around her.  This is a story of grooming and professional corruption, about using power to take advantage of others and exploit them for what you desire.  Yet Todd Field resisted the urge to make a simple Harvey Weinstein type story, opting instead to use the incredibly specific and incredibly dense palette of classical music and the orchestral industry as his palette.  The movie doesn’t hold the viewer’s hand in the least; from moment one, references and nods are flying fast and loose, calling out everyone from Furtwängler and Karajan to Marin Alsop and Michael Tilson Thomas.  Hildur Guðnadóttir plays a clever double-role, mentioned by name alongside peers such as Jennifer Higdon but also furnishing elements of the diegetic and non-diegetic soundscape.  Extended rehearsal sequences in Tár’s pidgin German play out free of subtitles.  The minutiae of orchestral union proceedings are debated time and again.  All of these references, all of this time, all of this vocabulary is necessary to establish the zealous obsession that surrounds the craft for Tár.  She has crafted her whole identity around being the next soothsayer of the Western canon, the protégée of Bernstein himself.  More importantly, it’s a veneer of legitimacy.  It’s clear from the start that the maestro is less than “politically correct”: a dressing-down of a Juilliard student regarding his opinions on contemporary art music and views on Bach steps beyond the pale of a misguided tough love approach and more into the territory of personal attack.  But this is a pattern.  Fields approaches the everyday administrative details of Tár’s life with the same meticulousness.  Insidious little instances begin to float to the surface, indicating a predatory tendency that others notice and become increasingly intolerant toward.  The camera lingers on Lydia’s assistant Francesca as she lip-syncs her boss’s plaudits during a public interview, casts furtive glances or begins to wonder why she’s being asked certain things.  Even the matter of handing over a laptop becomes a dangerous prospect.  And the conductor’s wife and colleague, concertmaster Sharon Goodnow, becomes increasingly disillusioned with Tár’s actions as a new affair begins to become apparent in newcomer cellist Olga.  In this sense, the deliberate and clinical handling of camera in many scenes begins to build a case against the maestro, feeling in beats almost akin to The Assistant.  A specific event involving a fellow for a program Tár started for women conductors lingers in the shadows, eluded to but never fully elucidated.  Krista Taylor had no prospects in the field after Tár torpedoed her career.  The maestro insists this was due to Taylor’s mental instability, but other evidence suggests that there was a revenge aspect to this.  The fantasy life of private jets and book talks can be ripped away so quickly.
And yet the fantasy of it all does have its place in the tapestry of this narrative.  As with music, there is room for ambiguity here, space to interpret.  Especially in the back half of the film, Field calls into question Tár’s state of mind through her troubled dreams and strange nocturnal discoveries.  Distorted images of the women in her life haunt her, intertwined with moments in the Amazon recalling her past ethnomusicological work.  Yet as things begin to unravel and Tár loses the thread, the nature of objective reality becomes more tenuous.  As with the scandal reveal, it’s subtle at first.  In her rehearsal home, the maestro is haunted by a persistent doorbell sound, which heartbreakingly later turns out to be the elderly woman next door in distress.  The legacy of Krista Taylor’s fallout and eventual suicide comes in the form of labyrinthine drawings which appear in gift book inscriptions, metronome faces, or formed in clay in her adoptive daughter’s room.  Just where these come from or who makes them is never made explicit, but that doesn’t make them any less haunting for Tár.  As she courts Olga, or seduces her, the cellist becomes ever more disillusioned with Tár just as she becomes more elusive.  At one point, Tár chases Olga into the seemingly abandoned building where she perhaps resides, only to find the cellist vanished, seemingly a figment of her imagination.  Descending into the basement, she instead finds a fox or a wolf, her predatory nature turning back on her.  Ghosts haunt the periphery. By the time it has all fallen away, she rushes onto the stage mid-performance, attacking her impostor, claiming the score for herself.  It’s her work, she alone can interpret it.  Utterly fallen from grace, the final sequences play out like a sort of bizarro-world fantasy.  New York is no longer a place of glamour, but an ugly outer borough rail station, everything drab and grey and muddy.  Her final gig is the coup de grace.  She is engaged to perform a Japanese work for a Southeast Asian concert hall.  The final shot is a bitterly funny punch in the gut: she’s at the bottom of the barrel, performing video game music for a rapt audience of cosplayers.  Goodbye haughty, lofty concert halls.  
Noémie Merlant, Nina Hoss, and Sophie Kauer all turn in strong, nuanced performances.  But Cate Blanchett is the obvious powerhouse here.  She’s fun as the haughty, dismissive maestro who knows just how it’s all done.  This makes her fall all the more pathetic, not even able to see her daughter.  It’s a late scene which cements just how hard this has all hit her, and a brilliant piece of acting from Blanchett.  Sitting alone at her old family home in New York with a childhood field hockey medal around her neck, Tár watches a recording of one of Leonard Bernstein’s Young People’s Concerts where he describes how music can be used to communicate ideas words cannot.  Her face says it all: this is her whole world still, but now she no longer can access it, by her own hand.  She controlled time with her baton, but she cannot control others in the same fashion.
THE RULES
PICK ONE
Select either MAHLER FIVE or the ELGAR CELLO CONCERTO and sip whenever that work is mentioned.
SIP
Someone name-drops a composer or conductor.
The narrative transitions to a new city.
Lydia calls someone a robot.
A scene contains a language other than English spoken in dialogue.
BIG DRINK
A labyrinth is drawn on something.
Tár cuts off the orchestra during rehearsal.
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pirapopnoticias · 1 year ago
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chasenews · 2 years ago
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Violinist Timothy Schwarz Releases Fifth Album as a Leader
Stock photo Recognized for his solid technique and considerable flair, acclaimed violinist Timothy Schwarz continues his career-long dedication to championing American composers with his latest recording The Living American. The Living American is a collection of contemporary works for violin by seven of today’s leading living American composers: Steven Sametz, Jennifer Higdon, Jessie…
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don-lichterman · 2 years ago
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GRAMMY Nominated Time For Three Discuss Their Album, "Letters for the Future"
GRAMMY Nominated Time For Three Discuss Their Album, “Letters for the Future”
Recorded with the Philadelphia Orchestra, the album comprises world premiere recordings of two Pulitzer Prize-winning composers: Jennifer Higdon and Kevin Puts   Time For Three (TF3) is a classically-trained, genre-crossing string trio comprising violinist Nick Kendall, double-bassist Ranaan Meyer, and VC Artist violinist Charles Yang. They are also known for sharing vocals in their…
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theresa-of-liechtenstein · 2 years ago
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how about number 101 (secret bonus song)
oooh this one’s really a bonus song bc i wasn’t expecting it on there!
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jempai · 1 year ago
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Operas are continuously revived (currently in an American premiere of a forgotten French operetta!). The unfortunate bit is that recordings aren’t often available and production runs tend to only be a few weeks at most, so you have to search to see new stuff.
Opera is also very regional. There are thriving opera scenes across the globe, but because of language differences, lack of marketing, and the absence of readily available pro-shots, many of these operas are not known outside of their area. In the past five years, I’ve been lucky enough to see many non-canon operas live in my city:
Daniel Catán's La hija de Rappaccini (Mexico, 1996, Spanish)
Hermogenes Ilagan’s Dalagang Bukid (Philippines, 1917, Tagalog)
Uzong Choe’s As the Moon Arrives on the Waters (South Korea, 2018, Korean) 
Uzong Choe’s 1945 (South Korea, 2019, Korean)
Liliya Ugay’s Chhlong Tonle (USA, 2021, English)
Daniel Catán's Florencia en el Amazonas (Mexico, 1996, Spanish)
Mark Adamo’s Little Women (USA, 1998, English)
Eugen d’Albert’s Tiefland (Germany, 1903, German)
Federico Moreno Torroba’s Luisa Fernanda ��(Spain, 1932, Spanish)
Jake Heggie’s Dead Man Walking (USA, 2000, English)
Jennifer Higdon’s Cold Mountain (USA, 2016, English)
Laura Kaminsky’s As One (USA, 2016, English)
Plus a bunch of smaller premieres from up-and-coming composers and revived operas from every era
There’s definitely a passion for works outside of the canon and introducing audiences to new stuff, but it takes time. Localized operas tend not to become part of the canon because joining the canon takes reviews, critical success, and countless productions to determine if a work is relevant, singable, accessible, and enjoyable. Opera companies rely on audiences’ tickets to fund the work they do, and it’s easier to sell tickets if people recognize La Traviata from Pretty Woman versus a random premiere from a composer they’ve never heard of.
Why modern academic composers don't write new operas? When staging and re-staging the same old pieces, over and over again, will be enough?
I look at your opera posts and reblogs and I just don't get the appeal. It's all so limited and stagnant, people pay attention to the smallest details because there is nothing else to think of, no revelation and inspiration.
They are all the same, like a seven or ten of them that every theater in the world had chosen for the rest of eternity and that's all. If the genre is truly dead and can not be revived, well, but why don't revive some real old operas?
Once I had to work with some Italian library, and they had DOZENS of printed librettos and notes of different 19th century operas of different composers from France, Germany and Italy, there were even several "Beauty and the Beast" kind of things. Opera was so diverse and big back then. It was fun.
There must be something hidden and pretty, something more than a group of over-used big names.
(Just in case, it wasn't negativity, I'm just thinking)
I'm all in favor of new operas and of reviving the countless obscure older ones. But I'm afraid you've come to the wrong person to complain about the constant re-staging of the popular warhorses.
Maybe it's because I'm autistic, but I like revisiting the same operas again and again, with different singers, conductors, and staging. I like seeing each different performance breathe new life into the same opera and find new insights into the plot and characters. For me at least, there is revelation and inspiration in it.
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yourdailyqueer · 3 years ago
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Jennifer Higdon
Gender: Female
Sexuality: Lesbian
DOB: 31 December 1962
Ethnicity: White - American
Occupation: Composer, musician, professor
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pitchybeachwitch · 3 years ago
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Happy Pride Month!!
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(Classical composers edition)
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thecuriouspianist · 5 years ago
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Women compose. Women conduct.
[ more 2019 stats here! ]
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depressedraisin · 1 year ago
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thinking abt the collabing with a composer thing on this, the obvious first choice owen pallet. obviously. if not them though, i'll love to see nico muhly given how close he was to working on tlsp1. we need a muhly and turner project at some point the world needs it. my personal choice would be jennifer higdon for no other reason than i absolutely fuckin' love her and her work.
if alex ever puts out an album of orchestral reimaginings of the car and tbhc (or even them older) songs, know that i'll pay with my blood for that shit
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