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Composer: T. Patrick Carrabré Artists: Rebecca Cuddy, mezzo-soprano; Amy Hills, violin;
M Gillian Carrabré, violin; Laurence Schaufele, viola;
Ariel Carrabré, cello
Recording details: WinterWind Records, released September 15, 2023
Métis Songs was commissioned by Harbourfront Centre for their Summer Music in the Garden concert series. Following the Red River Resistance (1869–1870) and the Battle of Batoche (1885), it was often dangerous to publicly identify as Métis. This album includes a cycle of three songs that explore manifestations of Métis identity from the 1800s to the present and our continued struggle to be recognized as a unique people and claim space wherever we might now live.
Description: Over the past 30 years, musicologists have produced a remarkable new body of research literature focusing on the lives and careers of women composers in their socio-historical contexts. But detailed analysis and discussion of the works created by these composers are still extremely rare. This is particularly true in the domain of music theory, where scholarly work continues to focus almost exclusively on male composers. Moreover, while the number of performances, broadcasts, and recordings of music by women has unquestionably grown, these works remain significantly underrepresented in comparison to music by male composers. Addressing these deficits is not simply a matter of rectifying a scholarly gender imbalance: the lack of knowledge surrounding the music of female composers means that scholars, performers, and the general public remain unfamiliar with a large body of exciting repertoire.
Analytical Essays on Music by Women Composers: Concert Music, 1960-2000 is the first to appear in a groundbreaking four-volume series devoted to compositions by women across Western art music history. Each chapter opens with a brief biographical sketch of the composer before presenting an in-depth critical-analytic exploration of a single representative composition, linking analytical observations with questions of meaning and sociohistorical context. Chapters are grouped thematically by analytical approach into three sections, each of which places the analytical methods used in the essays that follow into the context of late twentieth-century ideas and trends. Featuring rich analyses and critical discussions, many by leading music theorists in the field, this collection brings to the fore repertoire from a range of important composers, thereby enabling further exploration by scholars, teachers, performers, and listeners.
Abstract:This article adapts Classical notions of formal function for the purpose of proposing a listener-centered theory of phrase formation in post-tonal repertoires. It contends that formal function is an emergent property of music through which a listener actively shapes musical organization in time. The result of this approach is a view of musical form in which the listener and composer mutually construct the significant formal units of a musical work through their interactions, a perspective particularly well adapted to the challenges presented by post-tonal music. In order to show how phrase structure in post-tonal music emerges through these formal affordances, the article analyzes in detail several passages from Edgard Varèse’s Density 21.5, Luigi Dallapiccola’s Dialoghi, and Anton Webern’s Three Little Pieces Op. 11, No. 1. The theory of phrase presented here encourages an understanding of phrase as fundamentally relational and constantly mutable.
Publication details: Martin Bresnicks Piano Compositions: An Analysis and Performance Guide, MTNA e – Journal, Cincinnati Vol. 14, Iss. 4, (Apr 2023): 37.
Excerpt of abstract: This document is intended to be a practical tool for those interested in performing, researching and developing a deeper understanding of Martin Bresnick’s keyboard music. As one of György Ligeti’s pupils, the practice of micropolyphony is prevalent in his music, and influences from Schumann, Bach, Beethoven, Webern and others are discussed. The document presents brief biographies of Bresnick and his wife, the pianist Lisa Moore, and contextualizes each piano composition.
TRANSFORMATION presents three interactive piano + multimedia works written in collaboration with Megumi Masaki that reimagine the piano and pianist’s artistic expression through new technologies, and transform the listener’s concert to an immersive, theatrical, and cinematic experience. These works explore new models of interaction between sound, image, text and movement to augment the piano and its surrounding space as a visual as well as musical instrument. This album also includes a documentary film about the inspiration and collaborative journey between Megumi Masaki, T. Patrick Carrabré, Keith Hamel and Bob Pritchard. TRANSFORMATION hopes to engage a wide audience in impactful and transformational experiences that motivate dialogue and action.
Publication details: The Museum of Renaissance Music: A History in 100 Exhibits, edited by Vincenzo Borghetti and Tim Shephard, 351-6. Turnhout: Brepols, 2023.
