ElectronicaFolcloreInfantilJazzMúsica ChinaMúsica Clásica 
Música LatinaPopR&BluesRockTangoWorld music 
Canadian Composers Portraits: Norma Beecroft Disk 2
Mostrar mas ▼
"...all of the performances on the CD are exceptional" - Jennifer Bain, CAML Review CANADIAN COMPOSERS PORTRAITS SERIES No one can say with certainty who the first Canadian composer may have been. What is beyond doubt is the explosion of composition in the years following the Second World War. A generation of pioneering professional composers firmly established Canada’s place on the world’s musical map. Centrediscs’ Canadian Composers Portrait Series documents the emergence of this distinctly Canadian music. Each release in this retrospective of the last fifty years of Canadian composition is dedicated to a single composer. These unique CD sets combine full-length documentaries on the composers’ lives and music with a selection of some of their most important works. The best performances available of these works are taken from CBC, private and commercial sources and, in the case of archival recordings, are restored using the latest available techniques. We dedicate this project to our composers and to all those who have an interest in Canada’s musical heritage. CD1: Beecroft documentary produced and prepared by Eitan Cornfield [54:43] Documentaire sur Beecroft produit et présenté par Eitan Cornfield 1. Opening 2. He was a ham radio operator 3. I adored Norma, I just loved her 4. She was the first woman composer 5. Her most successful piece 6. This was a whole new world 7. When I was in Italy 8. Norma Beecroft kept abreast of the technology 9. In 1975 Norma Beecroft went back 10. Norma Beecroft’s catalogue isn’t large CD2: Improvvisazioni Concertanti No. 1 [7:40] Toronto Symphony Orchestra Victor Feldbrill (conductor/chef d’orchestre) Recorded / Enregistré: 1972, Massey Hall, Toronto Producer / Réalisateur: Richard Coulter Engineer / Preneur de son: J.W. Woods From Dreams of Brass [16:00] Barry Morse (speaker/narrateur) Mary Morrison (soprano) CBC Toronto Chorus & Symphony Orchestra John Avison (conductor/chef d’orchestre) Recorded / Enregistré: 1966, Toronto Engineer / Preneur de son: J.W. Woods Collage ’76 [10:40] New Music Concerts Ensemble, Toronto Robert Aitken (flute/flûte, conductor/chef d’orchestre) Recorded by / Enregistré par: BBC Radio, London, 1976 Jeu II [8:54] Robert Aitken (flute/flûte) Rivka Golani (viola/alto) Ronald Lynch (digital processing/traitements numériques) Recorded / Enregistré: 1990, DACARY Hall, York University, Toronto Producer / Réalisateur: Norma Beecroft Engineer / Preneur de son: Ronald Lynch Accordion Play [13:00] Joseph Petric (accordion/accordéon) Bill Brennan & George Morgan (percussion) Recorded live / Enregistré en direct: 1990, Sound Symposium, St, John’s, Newfoundland Producer / Réalisateur: David Jaeger Engineer / Preneur de son: David Quinney Amplified String Quartet with Tape [12:44] Accordes String Quartet (Fujiko Imajishi & Marie Berard, violins/violons; Douglas Perry, viola/alto; David Hetherington, cello/violoncelle) Recorded live / Enregistré en direct: 27/xi/1994, Premier Dance Theatre, Toronto Producer / Réalisateur: David Jaeger Engineer / Preneur de son: David Quinney Music used in the documentary in order of appearance. All music by Norma Beecroft unless otherwise noted. / Les oeuvres dans ce documentaire sont entendues dans l’ordre suivant. La musique est de Norma Beecroft sauf avis contraire: Improvvisazioni Concertanti No. 3. CBC broadcast/radiodiffusion. Ritual Fire Dance (Manuel de Falla). RCA. Fantasy for Strings. CBC broadcast/radiodiffusion. Concerto in F (George Gershwin). Radio broadcast/radiodiffusion. Images for Wind Quintet. CBC broadcast/radiodiffusion. Five Songs for Dark Voice (Harry Somers). RCI-286. Improvvisazioni Concertanti No. 1. Audat LP. Tre Pezzi Brevi. CBC broadcast/radiodiffusion. Kontakte (Karlheinz Stockhausen). Wergo 286009-2. Linear Contrasts (Vladimir Ussachevsky). CRI CD813. Rasas II. CBC broadcast/radiodiffusion. Two Went to Sleep. RCI ACM 13. From Dreams of Brass. RCI ACM 13. Cantorum Vitae. RCI ACM 13. Amplified String Quartet with Tape. CBC broadcast/radiodiffusion. Collage ’76. RCI ACM 13. Piece for Bob. RCI ACM 13. Evocations: Images of Canada. Digital tape/bande numérique. Improvvisazioni Concertanti No. 3. CBC broadcast/radiodiffusion. THE COMPOSER Norma Marian Beecroft was born in Oshawa, Ontario, on 11 April 1934. Her parents were both active in the artistic field. Her father, Julian Balfour Beecroft, was a musician and inventor, and a pioneer in the development of magnetic tape. Her mother, Eleanor Beecroft Stewart, was trained in music and dance, and enjoyed a successful career as an actress. The second of five offspring, Norma has enjoyed an active life in music, as a composer, producer, broadcaster and administrator. Some of her siblings have pursued occupations in the arts and/or technology, Jane (b. 1932) was a poet and painter, Eric (b.1935) was active in film, and Charles Andrew Stuart (b. 1942) is a noted documentarist in the field of natural sciences. Norma Beecroft’s early musical studies began with the piano, taking piano lessons from Aladar Ecsedy (1950-52), then between 1952-58 with Gordon Hallett and Weldon Kilburn. At the same time she studied composition with John Weinzweig. The recipient of a bursary from the Royal Conservatory of Music in 1957-58, she began flute studies with Keith Girard as well. She continued her composition studies on scholarship at the Berkshire Music Center, Tanglewood, with Aaron Copland and Lukas Foss, and in 1959 was accepted into the Corso di Perfezionamento at the Accademia di Santa Cecilia, Rome, under Goffredo Petrassi, where she graduated in 1961. The same year she was the recipient of an Italian Ministry of Foreign Affairs scholarship. During her three years in Europe she attended lectures given by Bruno Maderna at Darmstadt, Germany, and at the Dartington School of Music in England, and she continued her flute studies with Severino Gazzelloni. Upon her return to Canada, she attended the electronic music classes of Myron Schaeffer at the University of Toronto, and in 1964 spent the summer working with Mario Davidovsky at the Columbia-Princeton Electronic Music Center, New York. Concurrent with her composing life, Beecroft has enjoyed a long association with the world of broadcasting. She was first attracted to the then-new world of television and joined the CBC in 1954 as a script assistant for music programs, and later music consultant. After her European studies, she returned to CBC, working as a script assistant 1962-3, then successively as talent relations officer 1963-4, national program organizer for radio 1964-6, and producer 1966-9. In 1969 she resigned from CBC, and began a freelance career as producer and commentator on contemporary music. She was the host of the weekly series “Music of Today” for many years, and her freelance productions included many documentaries commissioned by the CBC on major Canadian composers of the latter 20th Century, including John Weinzweig, Harry Somers, Harry Freedman, Barbara Pentland, Jean Coulthard-Adams, Bruce Mather, Gilles Tremblay, etc. In 1976 her documentary “The Computer in Music” received a Major Armstrong Award for excellence in FM broadcasting. Among her numerous freelance projects was the preparation in 1975 of 13 broadcast records “Music Canada” from tapes in the libraries of RCI and CAPAC, and she contributed numerous documentaries on her Canadian colleagues for the Anthology of Canadian Composers series. Beecroft produced electronic music for the Stratford Festival productions of Macbeth (1982) and Midsummer Night’s Dream (1983), and incidental music for the TVO series “Fish On”. Many of Beecroft’s compositions have been commissioned by organizations and individuals including Ten Centuries Concerts (Elegy and Two Went to Sleep), the Societe de Musique Contemporaine du Quebec (Rasas 1), the National Arts Centre Orchestra (Improvvisazioni Concertanti No 2), the CBC (Rasas II, 11 and 7 for 5+, Piece for Bob, Accordion Play, Evocations), New Music Concerts (Rasas III, Collage ’76, Jeu II, Jeu IV), Rivka Golani (Troissonts, Jeu III). Many pieces combine electronically produced or altered sounds together with live instruments. She regards her particular use of electronic music as an extension of vocal and/or instrumental sounds rather than a contrast of timbres. From Dreams of Brass (1963-4) is the first example of this technique, and her large scale work, the ballet Hedda (1982), is a later illustration. Her musical aesthetic was first influenced by the music of Debussy, then later by her teachers — Weinzweig, Petrassi and Maderna, and during her European years, she was impressed by the work of Karlheinz Stockhausen, one of the first composers to combine electronic music with live instruments. THE COMPOSITIONS Beecroft has long been active in the promotion of Canadian and contemporary music in addition to her broadcasting and composing career. She was President in 1956-7 of Canadian Music Associates (the Toronto concert committee of the Canadian League of Composers), and in 1965-8 President of Ten Centuries Concerts. In 1971, she co-founded (with Robert Aitken) New Music Concerts, and was its President and General Manager until 1989. For her service to Canadian music, in 1996 she was awarded a Doctor of Letters, honoris causa, from York University, Toronto. Norma Beecroft is a member of the Canadian League of Composers and an associate of the Canadian Music Centre. In 2002, she was awarded an Honorary Membership in the Canadian Electro-acoustic Community. Improvvisazioni Concertanti No. 1 (1961) This one movement piece was written during the composer’s final year of studies in 1961 at the Accademia di Santa Cecilia in Rome. It is dedicated to her teacher, the distinguished Italian composer Goffredo Petrassi. Based on a 12-note series, the work moves from a slow and lyrical beginning to a faster more dramatic tempo, leading to a brief cadenza for the soloist and concluding in a quiet manner. The writing for the flute is demanding for the performer, who plays almost without interruption. Although every sound is notated precisely, the writing for the soloist intends to convey the spirit of improvisation against a background of sustained orchestral passages. This recording was produced as part of the celebrations of the 50th anniversary of the Toronto Symphony in 1972. From Dreams of Brass (1963-64) The composer has supplied the following note: “The cantata was originally conceived for performance in a large hall with the orchestra divided into sections, the chorus and three loudspeakers all strategically placed to work either in groups, or opposite one another. As the central figure, the narrator ties all the elements together. The electronic music, composed in the summer of 1964 at the Electronic Music Studio of Columbia-Princeton University, New York, is used primarily as an extension of existing orchestral and vocal sounds, although certain passages have their own independent existence.” The poetic text by Jane Beecroft is a “discussion of Love as it exists and acts in the universe,” writes the author, “but particularly concerning Man, who, unlike the rest of the universe, is free to reject or accept Love (God), bringing upon himself either utter aloneness, or a beatitude without bounds.” Collage ’76 (1976) As the title may imply, Collage ’76 is basically the superimposition of two of Norma Beecroft’s works, Piece for Bob and 11 and 7 for 5 +. To this combination is added fragments from other of the composer’s instrumental works of the preceding ten years. Although the players are divided into three groups, the flute plays a predominant and unifying role. The tape material includes electronically altered instrumental sounds and computer generated sequences, the latter using the POD 6 program of Barry Truax, produced at the Institute for Sonology in Utrecht, and “Outperform”, a computer synthesis program written by David Jaeger operating at the University of Toronto Computer Centre. The reason for the use of musical collage was due to the urgent need of New Music Concerts of Toronto for an ensemble piece for its 1976 Spring tour of Europe: it was a fast solution to the problem of limited time. Collage ’76 was written in one month and performed many times on the tour. The work was commissioned by New Music Concerts with the assistance of the Ontario Arts Council. Jeu II (1985) Jeu II is the second of a series in which the composer explores and transforms ‘found’ music. In this second piece, the composer pays tribute to two great composers of the past, J.S. Bach and Alban Berg, on the occasion of their 300th and 100th birthdays respectively. The solo flute and solo viola are transformed during a live performance through the use of AMS (Automated Music Systems) digital delays, pitch changer and reverberation units. The 6 channel tape forming the continuum was created from a multi-layering of the harmonies found in the opening strains of the solo violin in Berg’s Violin Concerto. Other fragments incorporated into Jeu II are taken from: the Allemande from the A Minor Flute Sonata of Bach, his Prelude from Suite 1 for Solo Cello, and the Violin Concerto of Berg. Jeu II was created in collaboration with recording engineer Ronald Lynch, and commissioned by New Music Concerts with the assistance of the Canada Council for the Arts. It is dedicated to Goffredo Petrassi on the occasion of his 80th birthday. Accordion Play (1989) Accordion Play was commissioned by the Canadian Broadcasting Corporation for accordionist Joseph Petric, who gave the work its world premiere in July 1990 at the Sound Symposium in St. John’s, Newfoundland. It is scored for accordion and two percussion, and bears a deliberate resemblance to an earlier Beecroft composition Troissonts for solo viola and percussion, a piece which inspired Mr. Petric to request a work of similar dynamics and accompanying instrumentation. Accordion Play is based on two main ideas: a 4-note motif exposed in long electronic-like tones at the beginning, and semitone clusters, sometimes broken into fragments and sometimes played in a chord-like manner. The piece is somewhat whimsical in its sharp contrasts of mood and colour. Amplified String Quartet with Tape (1991-92) Commissioned by the Music Gallery in Toronto with the assistance of the Ontario Arts Council, the String Quartet was premiered by New Music Concerts in its 1994-95 season on a program celebrating the composer’s 60th birthday. The Quartet relates to an earlier Beecroft composition, Cantorum Vitae (1980-81), in that it uses the same melodic material. Both compositions were written in response to a personal upheaval in the composer’s life, and are dedicated to her husband Ronald Turner. The tape in the work is used as a kind of canon to the string quartet, acting as a reminiscence of the past. The electronic material was produced by the composer using a digital software program, Performer, and a Roland D70 sythesizer. Credits Documentary Producer & Master Tape Preparation / Réalisateur du documentaire et préparation de la bande maîtresse: Eitan Cornfield Audio restoration / Restauration audio : Graham Newton Canadian Music Centre / Centre de musique canadienne : Elisabeth Bihl, Executive Director / Directrice générale Centrediscs & CMC Distribution Service / Centredisques et Service de distribution du CMC: Richard Truhlar, Manager / Gérant Documentary series executive producer / Productrice déléguée de la série de documentaires : Donna Cressman-Dubois Album Design / Conception de la pochette: Marc LaFoy, Screen Images Liner Notes / Notes d’explication: Norma Beecroft Translation / Traduction: Véronique Robert Photograph / Photographie: John Reeves Persons speaking in the documentary in order of appearance / Les personnes témoignant dans ce documentaire sont entendues dans l’ordre suivant : Norma Beecroft, Eitan Cornfield, Harry Somers, Stuart Beecroft, John Weinzweig, Helen Weinzweig, Robert Aitken, Gordon Burwash, Harry Freedman, Mary Morrison, David Jaeger. This Centrediscs recording was made possible through the financial assistance of the Canada Council for the Arts and the Government of Canada through the Canada Music Fund/ Cette enregistrement Centredisques a bénéficié de l’appui financier du Conseil des Arts du Canada et du gouvernement du Canada par l’entremise du Fonds de la musique du Canada. CP 2003 Centrediscs / Centredisques All rights reserved by the Canadian Music Centre. Tous droits réservés Centre de musique canadienne Manufactured under license from CBC/SRC. Manufacturé sous license de SRC/CBC. C Canadian Broadcasting Corporation / Société Radio-Canada Made in Canada / Fabriqué au Canada.
Unas palabras de nuestros anunciantes
FaroLatino en Google+
Unas palabras de nuestros anunciantes