Performance Practices: David Burge, Robert Miller, and the Makrokosmos

IF 0.3 2区 艺术学 0 MUSIC Contemporary Music Review Pub Date : 2022-01-02 DOI:10.1080/07494467.2022.2033572
Marilyn Nonken
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引用次数: 0

Abstract

The reception of George Crumb’s Makrokosmos I and II benefited from the efforts of pianists David Burge and Robert Miller. Burge, the composer’s colleague at Colorado College, gave the premiere of the first volume and made its first recording. The second volume was premiered by Robert Miller, a New York-based pianist associated with the Group for Contemporary Music, who created the initial recording of the second volume. The discographies of these two pianists testify to their tremendous and shared commitment to the music of their own time. Yet two artists drawn to the same repertoire, born in the same year, could not have been more different. There were significant differences in how they saw their goals, priorities, and responsibilities as interpreters dedicated to the evolving repertoire, which determined their immediate impact and the consequences of their work. Their choices, which reflect needs for access, self-preservation, education, standards, and audience engagement, are examined in light of contemporary debates regarding access and the bridging and bonding of diverse communities.
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表演实践:David Burge、Robert Miller和Makrokosmos
乔治·克拉姆的《Makrokosmos I》和《Makrokosmos II》的接受得益于钢琴家大卫·伯奇和罗伯特·米勒的努力。伯奇是作曲家在科罗拉多学院的同事,他首演了第一卷,并录制了第一张唱片。第二卷由罗伯特·米勒首演,他是纽约的钢琴家,与当代音乐集团有联系,他创作了第二卷的最初录音。这两位钢琴家的专辑证明了他们对自己时代音乐的巨大和共同的承诺。然而,在同一年份出生的两位艺术家却有着天壤之别。作为口译员,他们在如何看待自己的目标、优先事项和责任方面存在显著差异,这决定了他们的直接影响和工作的后果。他们的选择反映了对获取、自我保护、教育、标准和受众参与的需求,并根据当代关于获取和不同社区之间的桥梁和联系的辩论进行了审查。
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来源期刊
CiteScore
1.00
自引率
25.00%
发文量
48
期刊介绍: Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars. All articles are subjected to rigorous peer review before publication. Proposals for themed issues are welcomed.
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