Webcast sponsored by a Irving K. Barber Learning Centre and hosted by alumni UBC. From his Oscar-winning measure for The Red Violin to his show The Ghosts of Versailles, his acclaimed Symphony No. 3, Circus Maximus, and his Grammy-winning Conjurer: Concerto for Percussionist and String Orchestra, American composer John Corigliano has built one of a richest, many unusual, and many widely distinguished bodies of work of any composer in the final forty years. His “architectural” process of component has authorised him to forge a strikingly wide operation of low-pitched materials into arches of constrained auditory logic. Take a demeanour into a mind and process of this internationally-renowned composer.
This eventuality took place Nov 18, 2016, during a Chan Centre for a Performing Arts on UBC’s Vancouver campus.
Speaker Biography
John Corigliano continues to supplement to one of a richest, many unusual, and many widely distinguished bodies of work any composer has combined over a final forty years. Corigliano’s scores, now numbering over one hundred, have won him a Pulitzer Prize, a Grawemeyer Award, 5 Grammy Awards, an Academy Award, and have been achieved and available by many of a many distinguished orchestras, soloists, and cover musicians in a world.
Recent scores embody One Sweet Morning (2011) a four-movement strain cycle premiered by a New York Philharmonic and Stephanie Blythe; Conjurer (2008), for percussion and fibre orchestra, consecrated for and introduced by Dame Evelyn Glennie; Concerto for Violin and Orchestra: The Red Violin (2005), grown from a themes of a measure to a film of a same name, that won Corigliano an Oscar in 1999; Mr. Tambourine Man: Seven Poems of Bob Dylan (2000) for band and amplified soprano, a recording of that won a Grammy for Best Contemporary Composition in 2008; Symphony No. 3: Circus Maximus (۲۰۰۴), scored concurrently for breeze band and a crowd of breeze ensembles; and Symphony No. 2 (2001 Pulitzer Prize in Music.) Other critical scores embody String Quartet (1995: Grammy Award, Best Contemporary Composition); Symphony No. 1 (1991: Grawemeyer Award); a show The Ghosts of Versailles (Metropolitan Opera commission, 1991); and a Clarinet Concerto (1977). The Houston Symphony Orchestra consecrated Corigliano to emanate a new orchestral chronicle of Stomp that premieres in tumble 2015.
In 2015 Los Angeles Opera perceived far-reaching commend for their overwhelming new prolongation of The Ghosts of Versailles, conducted by James Conlon, staged by Tony Award-winning executive Darko Tresnjac and starring Patricia Racette, Christopher Maltman and Patti LuPone.
Corigliano’s song is achieved widely on North American and general stages. In new years his song has been featured in performances via a US and Europe, Caracas, Melbourne, Shanghai, Beijing, Tokyo, Krakow, Toronto, Bosnia, and beyond.
Corigliano serves on a combination expertise during a Juilliard School of Music and binds a position of Distinguished Professor of Music during Lehman College, City University of New York, that has determined a grant in his name. His song is published exclusively by G. Schirmer, Inc.
Select Articles and Books Available during UBC Library
Bergman, E. (2013). Of Rage and Remembrance, Music and Memory: The Work of Mourning in John Corigliano’s Symphony No. 1 and Choral Chaconne. American Music, 31(3), 340-361. doi:10.5406/americanmusic.31.3.0340 [Link]
Renthan, C. (2013). “History as it should have been”: Haunts of a chronological high in John Corigliano’s and William Hoffman’s a Ghosts of Versailles. Twentieth Century Music, 10(2), 249-272. Retrieved from http://ezproxy.library.ubc.ca/login?url=http://search.proquest.com/docview/1586011204?accountid=14656 [Link]
Townsend, A. (2003). John Corigliano’s “A Dylan Thomas Trilogy” The Choral Journal, 44(4), 29-37. Retrieved from http://www.jstor.org/stable/23554579 [Link]
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