Program
Eclipse (1999) for clarinet and large ensemble
Link (2005) for ensemble with sampler/electronics
Entrelacs (1999) for ensemble
Volubile (2001) for piano
Circumambulation (1993, 1996 Rev.) for flute

Works by Temple University Students

PROGRAM
Alex Huddleston: Without pausing, they spoke through (2017)
Igor Coelho Arantes Santana Marques: Air (2017)
Meredith Gilna: Anatomy (2017)
Roberto Azaretto: paisajismo abstrato 5 (2017)
Su Lee: The Epiphany of Jack (2016, rev. 2017)

PROGRAM
Sergio Augusto Cote Barco – Rand (2016, 2017 rev.)
R.A. Baker – all the lights are gathered in your eyes (2016, 2017 rev.)
Anna Meadors – Flight (2017)
(intermission)
Frederic Rzewski – Moonrise with Memories (1977)
Amanda Feery – Those So Moral (2016)
Moon Young Ha – (in)stillness (2015)

ENSEMBLE MISE-EN

new works by Princeton composers for large ensemble

Tuesday, February 28, 2017, 8pm

Taplin Auditorium in Fine Hall

Princeton University, Princeton, NJ

Free admission

Composers:

Jenny Beck, Yuri Boguinia, Noah Kaplan,

Pascal Le Boeuf, Anna Meadors, Alyssa Weinberg

Performers:

ensemble mise-en: Moon Young Ha, conductor

More information coming soon

Concerts upcoming

Double Portrait—Zivkovic and Agerfeldt Olesen with ensemble mise-e

THU—2-16-2017—8 PM
$15 ($10 ASF Members)

Purchase Tickets

Ensemble mise-en’s Portrait Series seeks to celebrate the landmark works of distinguished composers of contemporary music. This series is aimed towards presenting the music of these composers to a wide spectrum of listeners who are engaged in or curious about contemporary art music from around the globe, such as music students and educators, new music enthusiasts, as well as New Yorkers and visitors.

The inaugural concert of the series will feature a pair of Nordic composers: Djuro Zivkovic (Serbia/Sweden) and Thomas Agerfeldt Olesen (Denmark). Djuro Zivkovic is a Grawemeyer Award winning composer, and Thomas Agerfeldt Olesen has had an extensive career composing extended works for large ensembles, including a recent opera at the National Danish Opera.

About Djuro Zivokic

Djuro Zivkovic (born in Belgrade, Serbia 1975) comes from a non-musical family; however, his parents inspired in him a love for art. His early interest for folklore and Byzantine music led him to develop a variety of compositional techniques such as poly-rhythmic, improvisation, special harmony based scales, microtones, layer-polyphony and heterophony.

His harmonic-field technique is now a topic of academic research at the University of Music and Performing Arts in Graz in Austria and the derivative products of his harmonic approach are compositions such as Le Cimètiere Marin and The White Angel in which are entirely released basic harmonic principles.

Djuro Zivkovic has been living and working in Stockholm, Sweden since 2000. His music is commissioned, performed, recorded and broadcast across Europe and North America, including by the New York Philharmonic, Malmö Symphony Orchestra, New European Ensemble, Seattle Symphony Orchestra, and more.

As a composer Zivkovic is non-compromising in the appraisal of his work and for him the reason for the existence of art lies in its power to communicate. The flexibility of musical communication gives an opportunity for the transference of messages between people which is unquestionably the opposite of today’s populist “Ego-art”; and that communication can be achieved only by detaching the need for self-possession and self-attraction, thus creating instead “Free Art for all humanity in all times.” For Zivkovic, the composer shouldn’t be understood by audience, rather, the composer should understand the audience.

About Thomas Agerfeldt Olesen

Thomas Agerfeldt Olesen was born in 1969. He is trained in both cello and composition, educated at the Royal Academy of Music in Aarhus, Denmark. As a composer he studied with Karl Aage Rasmussen, Bent Sørensen, and Olav Anton Thommesen at the academy. In addition, he received lessons from Henryk Gorecki and Poul Ruders.

Agerfeldt Olesen is very interested in the affinity between music and the human mind and he does not believe in giving up the traditional musical foundation of tonality and counterpoint whilst at the same time being very careful in his choice of musical material. Composers like Witold Lutoslawski and Alban Berg, who, even in applying twelve tone-techniques have “tonality lurking around the corner” as Agerfeldt Olesen puts it, have had a profound influence on him.

Agerfeldt Olesen’s music is often described as an original fusion of humor and seriousness. His background as a cellist can be heard in his works through a very concrete sense of instrumental technique and an ever-present awareness of the fact that his music is to be played by musicians which manifests in a sense of phrasing and articulation that applies to more than just his handling of the cello.

His major works include the opera The Picture of Dorian Gray (2013), for which he received the Musical Drama Prize of the Danish State’s Art Foundation as well as the Carl Prize, and orchestral and ensemble works like Der Wind Bläset Wo er Will (2011) and Die Himmlischen Heerscharen (1998).

Performance: Saturday, January 21, 8:00 p.m., Mildred Sainer Pavilion
($15, free with subscription)
Pre-concert talk: 7:30 p.m.

Artist Conversation: Thursday, January 19, 5:00 p.m., Mildred Sainer Pavilion (free)

György Ligeti’s influence on contemporary composers is vast, and his Piano Concerto demonstrates why. Full of rollicking polyrhythms, vivid orchestral color, and a playful sense of humor, the Piano Concerto is one Ligeti’s greatest and most appealing creations. Pianist Yumi Suehiro will be featured with Ensemble Mise-En in a program that will also include Hans Abrahamsen’s Märchenbilder and Crimson Dawn by distinguished New College alum Jason Rosenberg.

PROGRAM
Works by Adam Vidiksis, Matthew Greenbaum, and Kurt Nelson

It was Brown’s disinterest in the staple European approaches to electronic composition, namely synthesis and music “concrete”, that lead Brown to accept a commission for his 1963 Times Five. Brown choose instead to concentrate on the spacial qualities made possible by the arrangement of loudspeakers throughout the concert venue. This approach enables for the development of an array of formations, as determined by the live performers proximity to the speakers. In addition to Times Five, MISE-EN is to present Tracer (1985), which is later development of this approach for the inclusion of electronic elements in composition. “There has always been a layering and collage process in my work; the idea of 2 or more things transforming each other by being in “flexible” relationships to one another.” says Brown in his notes on Tracer. This transforming, mobile-like quality of his music is here exemplified through his reinterpretation of a 1963 painting by Robert Rauschenberg.
–
Earle Brown’s graphic scores are known for being both unique in their mode of expression, and for the variety of arrangement made possible through his radical approach to visual composition. This music represents an approach to composition which has focused so intently on material that it has become deconstructed, as though a black hole had formed at the center of it’s inception, infinitely remaining relevant through constant reconstruction of its constituent elements. It is wondrous to behold this reformation of events and appreciate it not in cult-like splendor, but in a state of constant refinement, with the musicians of ENSEMBLE MISE-EN as its fine harbinger.

PROGRAM
String Quartet (1965)
Times Five (1963)
Tracer (1985)
Folio and 4 Systems (1954)