Pieces Of Eight of the festival will bring marilyn nonken, who performs This season nonken is touringwith a program of will perform with guest pianist Christopher Oldfather. http://www.news.ecu.edu/poe/poeonline/MARCH2003/newmusic.html
Extractions: By Michael Crane "There has always been new music," says East Carolina composer and professor Ed Jacobs. "And there will always be new music." To consider the latest in new compositions, Jacobs hosts an annual festival, NewMusic@ECU, which brings acclaimed composers and performers from around the world to Greenville. The free festival includes concerts, lectures, and master classes for students, professionals and the public. "If you're looking for a piece that will impact your heart and mind and will be as powerful as anything you've ever heard come to the Festival's opening concert where you'll hear "Quartet for the End of Time," Jacobs said. Written by Olivier Messiaen while the composer was interned in a Nazi labor camp, the work is a landmark of 20th century music. "It is an incredibly emotional experience, religiously inspired and uniquely profound," Jacobs said. The 40-minute piece stands alone on the program, but will be introduced by Dr. James Grymes, guest scholar and musicologist on the faculty of UNC-Charlotte at the March 19 opening concert at 8 p.m. The NewMusic@ECU Festival is a tremendous opportunity for all listeners to hear how today's composers are bringing together influences from so many different cultures and styles.
Mikhashoff Trust: Awards for graduate school tuition University of York · marilyn nonken (New York NY NY),artist s fees 1997 Awards Students · Andrey Kasparov, pianist, for doctoral http://www.mikhashofftrust.org/awards.html
IRCAM@Columbia 1999 was utilized in every piece; and this pianist, Ensemble 21 s codirector and risingstar on the new music performance scene, marilyn nonken, deserves special http://www.leeds.ac.uk/cmj/reviews/24-2/e-columbia-ircam.html
Extractions: Ensemble 21; techical assistance, IRCAM Reviewed by Christopher Bailey (New York, New York, USA) The first concert of IRCAM@Columbia was devoted to the music of composer Jonathan Harvey; the works performed ranged from fairly recent (1994) to relatively well-established (1980). Mr. Harvey has had several residencies at IRCAM, and the influence of the techniques he has learned and utilized there could be heard both directly, in the case of works featuring electronics, like Mortuos Plango, Vivos Voco and Tombeau de Messiaen , and indirectly, in the case of works like The Riot and Nataraja The latter, a fiery duet for flute and piano, opened the concert, played brilliantly (as was the entire program) by Ensemble 21. As is often the case, the pianist was utilized in every piece; and this pianist, Ensemble 21's co-director and rising star on the new music performance scene, Marilyn Nonken, deserves special kudos for her unceasing energy and vitality in performance throughout the evening. Nataraja is a work filled with wonderfully varied textures and scintillating instrumental writing, weaved together into a clear, satisfying kinetic-formal design. This listener heard perhaps a whiff of Karlheinz Stockhausen's
World-searches.com: Entertainment/Music/Instruments/Keyboard/Piano/Pianists NeuhausItalia, is dedicated to this Russian pianist and teacher. nonken, MarilynSpecializes in modern music Information, discography, repertoire, concerts. http://www.kangaroo-directory.com/Entertainment/Music/Instruments/Keyboard/Piano
Miller Theatre Of Columbia University American Spiritual Works of Michael Finnissy Charles Ives pianist marilyn Nonkentackles Charles Ives Concord Sonata, perhaps the greatest American piano http://www.cs.wisc.edu/~yacomink/MillerArchive/Miller2000/pr.html
, , By (10/03/02) FRIDAY OCTOBER 4 marilyn nonken A student of the legendary David Burge, this virtuosopianist serves up a formidable program of contemporary solo piano music. http://www.thestranger.com/2002-10-03/concerts.html
Extractions: A Symphonic Requiem, Variations on a Theme of Howard Hanson A Carlo Scarpa (Luigi Nono) or Sun-treader (Carl Ruggles). Pre-concert lecture starts one hour prior to performance. Also Fri Oct 4 at 8 pm and Sun Oct 6 at 2 pm. Benaroya Hall, 200 University St, 215-4747, 7:30 pm, $11-$75. FRIDAY OCTOBER 4 A student of the legendary David Burge, this virtuoso pianist serves up a formidable program of contemporary solo piano music. Nonken tickles and thunders the ivories with David Rakowski's appealing and sometimes knotty Etudes , Jason Eckhardt's Echoes' White Veil , Michael Finnissy's North American Spirituals , Paul Nauert's A Collection of Caprices , and Allegro Penseroso by that grand old man of American serialism, Milton Babbitt. A must for piano fanatics. Brechemin Auditorium, UW campus, 685-8384, 8 pm, $8/$10. CCRK
Boston Microtonal Society/Musicians/Eckardt Recently released recordings include Echoes White Veil by pianist marilyn Nonkenon CRI (877) and Transience by Makoto Nakura on Helicon/Kleos (KL 5116). http://bostonmicrotonalsociety.org/Pages/MusiciansPages/Eckardt.html
Extractions: Jason Eckardt I am constantly inspired by the rich harmonic possibilities offered by microtonal intervals and the facility with which today's players can perform them. Aesthetically, I am drawn to a variety of microtonal music, ranging from ethnic music (gagaku, gamelan, and pansori) to the composed works of Michael Finnissy, Harry Partch, and Tristan Murail. My use of microtonal intervals has always been structural, rather than ornamental. Tangible harmonic relationships are created by Mod24 interval-class invariances within pitch-class set types manipulated in various ways. Thee pitch-class sets are then distinguished on the musical surface using other parameters: rhythm, timbre, register, articulation, and amplitude. The choice of pitch-class set types is determined by a generating set from which subsets and supersets are created. By imbuing these smaller and larger derived sets with all or some of the intervallic content of the generating set, the harmonic environment of the work is characterized by the emphasis or suppression of certain interval classes. Sets are articulated musically by exploiting changes in musical parameters from gesture to gesture, phrase to phrase, and section to section. This encourages the perception of related grouping structures on local and global levels. Despite the technical accomplishment of musicians dedicated to performing microtonal works, some microtonal figures are still impractical on traditional instruments. Additionally, I do not want to discard the timbral vitality of keyboard and percussion instruments simply because they are limited to semitones. To address these issues, I often create two groups of pitch-class sets as the harmonic material for my works: one semitonal and one quartertonal. These are also related by interval class content; semitonal sets are often subsets of larger-cardinality quartertonal sets. By interchanging the two kinds of sets within passages, I achieve a harmonic continuity that facilitates rapid figurations in the instruments in all registers, while successfully integrating semitonal instruments when I choose to use them.
Classical Music - Andante - Web Directory Burtis, Herbert. Concert organist, pianist, and vocal teacher. Catalog by ArtistMarilynNonken. page at Lovely Music See cached version. CHRISTINA PETROWSKA. http://www.andante.com/Directories/Web/index.cfm?iTopID=12
Salvatore Martirano: Colleagues & Former Students Lab; John Melby professor of music, U of I at CU; marilyn Nonkenpianist; Ron Pellegrino, President of Electronic Arts Productions; http://ems.music.uiuc.edu/~martiran/HTdocs/friends.html
