Guillaume de Machaut/Arr. Felipe Rossi
Je vivroie liement/liement me deport
It doesn’t get much more songlike than with Luciano Berio’s delightful Folk Songs; and it doesn’t get much more dancelike than with Beethoven’s high-octane Seventh Symphony. We’ll start with a song from the 14th century, Guillaume de Machaut’s Je vivroie liement/liement me deport, in a lively arrangement by Felipe Rossi. A fitting conclusion to our season, Songs and Dances.
Je vivroie liement/liement me deport
Symphony No. 7 in A Major, Op. 92
Internationally acclaimed percussionist Steven Schick will serve as Artistic Director and Conductor of the Breckenridge Music Festival, the organization’s summer festival taking place annually mid-July through mid-August. Schick will debut at the Breckenridge podium in his new role in July 2018.
Schick succeeds Artistic Advisor and Conductor, David Danzmayr whose tenure began in 2015 and culminated in the 2017 season. Beginning in the 2018 festival season, Schick will conduct the Festival Chamber Orchestra for 3 weeks.
As the principle architect and animating artistic personality of the summer Festival, Steven Schick will rehearse, conduct and oversee the artistic quality of the orchestra, and from time-to-time, perform solos or chamber music.
As a percussionist, conductor, and author, Steven has championed contemporary percussion music by commissioning or premiering more than one hundred-fifty new works. The most important of these have become core repertory for solo percussion.
He is artistic director of the La Jolla Symphony and Chorus and the San Francisco Contemporary Music Players. As a conductor, he has appeared with the BBC Scottish Symphony Orchestra, the Saint Paul Chamber Orchestra, the Milwaukee Symphony, Ensemble Modern, the International Contemporary Ensemble, and the Asko/Schönberg Ensemble. He is the curator of, and will be conductor and percussion soloist in, “It’s About Time,” a festival of the San Diego Symphony held January of 2018. Steven is Distinguished Professor of Music and holds the Reed Family Presidential Chair at the University of California, San Diego. He was music director of the 2015 Ojai Festival, and is co-artistic director, with Claire Chase, of the Summer Music Program at the Banff Centre.
Schick’s publications include a book, “The Percussionist’s Art: Same Bed, Different Dreams,” and many articles. He has released numerous recordings including the 2010 “Percussion Works of Iannis Xenakis,” and its companion, “The Complete Early Percussion Works of Karlheinz Stockhausen” in 2014. Also, in 2014, he was inducted into the Percussive Arts Society Hall of Fame.
Jessica Aszodi’s career could best be described as genre-bounding and label-defying. The Australian-born, London-based vocalist has premiered dozens of new pieces, performed work that has lain dormant for centuries, devised pieces, projects and festivals, sung roles from the standard operatic repertoire and collaborated with a constellation of artists from the far reaches of the musical palette. Her performances have been described as “thrilling” (LA Times) and “intense” (New York Times). Her voice has been praised for its “utmost security and power” (Chicago Tribune) while the media in her native Australia have dubbed her “one of the finest actress-singers in the country” (The Age).
Her voice has an unusual range, both in terms of colour and pitch, making it possible for her to perform repertoire across genres (from experimental to baroque, folk to opera) and voice types (from contralto works like Boulez’ Le Marteau sans maître to soprano gems like Grisey’sQuatre chants pour franchir le seuil).
She has been a soloist with ensembles as diverse as ICE, the Melbourne, Sydney and Adelaide Symphony Orchestras, Pinchgut Opera, the Tirolean Symphony Orchestra, Victorian Opera, Sydney Chamber Opera, and in the chamber series of the San Diego and Chicago Symphony Orchestras. Her operatic roles include Eve (Stockhausen’s Dienstagaus Licht), Socrates (Satie’s Socrates), Aminta (Mozart’s Il re pastore), Donna Elvira (Don Giovanni), Sesto (Guilio Cesare), Popova (Walton’s The Bear), Rose (Elliot Carter’s What Next?) and Echo (Ariadne auf Naxos).
Jessica can be heard on recording for Chandos, ArsPublica and Hospital Hill and has sung in festivals around the world, including Klangspuren, Beethoven Festival Bonn, Vivid Sydney, BIFEM, the Melbourne and Adelaide Festivals, Aldeburgh, Tectonics and Tanglewood. Aszodi has twice been nominated for the Australian Greenroom Awards as ‘best female operatic performer’ - in both the leading and supporting categories. She is co-director of the Resonant Bodies Festival (Australia), artistic associate of BIFEM, and a 2017 artist in residence at ‘High Concept Labs’ (Chicago). She holds a Doctorate of Musical Arts from the Queensland Conservatorium, a Masters of Fine Arts from the University of California, teaches voice, and has written scholarly articles for several books and journals.
Jessica Aszodi is represented by Intermusica worldwide excl. Australia.