Corigliano Residency Schedule

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Apr 182010
 

This week, the MSU College of Music is pleased to host John Corigliano for a residency. Mr. Corigliano is among today’s most prominent American composers. He has won a Pulitzer Prize , an Academy Award and three Grammy Awards. Kevin Sedatole, Director of Bands at MSU recently sent out the following schedule for the Corigliano residency along with an open invitation to any of the events listed.

. . . Next week we will host composer John Corigliano for a week long residency.  Mr. Corigliano will be working with the Symphony Orchestra, Chorale/State Singers and Wind Symphony in preparation for the grand concert of the residency to be presented on April 24th.  Joining the major ensembles will be Richard Sherman, performingPied Piper Fantasy and violin soloist Margarita Krein performingThe Red Violin Caprices.
In addition to working with the ensembles, Mr. Corigliano will present several seminars for various student groups within the College of Music as well the Department of Telecommunications, Information Studies and Media.
Everyone is welcome (along with your classes)  to attend any of the listed seminars and rehearsals.  All rehearsals will take place in the Wharton Center, Great Hall.
I hope you all have the opportunity to take part in this unique residency with Mr. Corigliano.
Kevin Sedatole

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Corigliano Residency Schedule
April 18-25, 2010

Sun., April 18-        7:00-9:30 p.m.         Wind Symphony- Wharton- Great Hall
(without Corigliano)
DC Fanfare, Circus Maximus

Mon., April 19-        9:30-11:30 a.m.        Open time- possible media interviews
3:00-5:00 p.m.    Orchestra/Chorale rehearsal- Wharton
Center- Great Hall
Chorus and Orchestra- Fern Hill
Orchestra- Pied Piper Fantasy

6:30-7:30        Orchestra/children’s rehearsal-
Pied Piper Fantasy

Tues., April 20-        8:30-10:00 a.m.        Joint conducting seminar (Rm. 120)
(Seminar with graduate conducting students from band , choral, orchestral areas)-

3:00-4:50 p.m.        Wind Symphony- Wharton-Great Hall
DC Fanfare, Circus Maximus
7:00-9:00 p.m.        Wind Symphony- Wharton-Great Hall
Circus Maximus

Wed., April 21-        10:00-12:00        Session with High School Students and
Music Ed. Faculty- Music Aud.
(Seminar for high school students who are interested in careers in music.  This will only be a 30-45 minute session for JC to talk about careers in music that young people might be interested in and to field any questions from students)

2:00-2:45        Piano Studio Class- Etude Fantasy- Music Aud.
(JC will work with student performer on Etude Fantasy, full piano department will be present)

3:00-5:00 p.m.        Orchestra/Chorale- Wharton- Great Hall

7:00-9:30 p.m.    Orchestra with children rehearsal

Thurs., April 22-        10:00-11:15 a.m.    Session with Film and Music
(Comm Arts.-Studio )
(Session for film studies majors to discuss film music composition.  Clips from The Red Violin and Altered States will be shown for JC’s comments on how he fit the music to the scene etc.  Also, members of the Lansing Film Society will be involved)

3:00-4:50 p.m.        Wind Symphony- Wharton- Great Hall
DC Fanfare, Circus Maximus

Fri., April 23-        10:00-12:00        Open time to work with Margarita Krein
(violinist play The Red Violin Caprices) and a bassoon quartet working on How Like Pellucid Statues, Daddy, Wharton Center

3:00-5:00 p.m.        Orchestra/Chorale- Wharton- Great Hall
3:00-3:45        Orchestra/Chorus
4:00-5:00        Orchestra
7:00-9:30 p.m.        Dress Rehearsal
6:15-6:40        Red Violin Caprices
6:40-6:55    D. C. Fanfare
7:00-7:30    Fern Hill
7:40-8:25    Pied Piper
8:30-9:00    Reset stage
9:00-9:45    Circus Maximus

Sat., April 24-    10:00-12:00        MSU Composition Seminar-  Rm. 120 work with
mainly graduate students on their compositions

2:30-4:30        Composition Seminar- Rm. 120
For composition students and composers from around the state to hear a more indepth talk about the music being presented on the evening concert.

7:15 p.m.        Pre-Concert Talk- (for concert-goers.  Talk will be hosted by Kevin Sedatole, Ricardo Lorenz and
Mark Sullivan)

8:00 p.m.        Concert

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Anatomy of Our Profession

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Jan 122010
 

Dr. Lorenz sent out an email tonight explaining the topic he’d like to discuss this semester in studio class. Contrary to recent history, we will be meeting this coming Friday. Jan. 15, the first week of the semester. If you missed the email, here it is for your intellectual and conceptual pleasure:

Anatomy of Our Profession

We will have the extraordinary opportunity of having John Corigliano in residence at MSU this semester.  In preparation for his residency, I want to have the composition studio look at the composer’s works and career trajectory while thinking about student’s own potential to lead lives as composers and teachers.  In public lectures, I have heard Corigliano share with audiences some of the most insightful and profound ideas about music composition.  Therefore, in addition to taking care of the composition area’s business, this semester’s Composition Studio will be devoted to studying the anatomy of our profession.

What do we call what composers do anyway? Is it a profession or a vocation? Is it a trade? Or is it a labor of love, an avocation, a passion, an existentialist quest, a way of life? Is it plain foolishness? Is it a little bit of all of the above?

I want us to look profoundly at what we do, where we do it, how we do it, and perhaps even why we do it.   How do our aspirations to lead lives as composers change throughout the different phases of the profession? I would like to go back to those turning points that we all go through while pursuing a path in the field of music composition: the first time we became aware of our calling; the time when we decided to study composition formally; our years as undergraduate and graduate students; the process of getting a teaching job; the challenges of reconciling this process with maintaining a steady creative output.  What are other alternatives to a teaching job? How do we overcome coming face to face with serious doubts about our chosen field? How has the field changed during the past several decades?

Of particular interest to me this semester is the practice, study, and teaching of music composition at a so-called research institution like MSU. What does it mean to be doing this at a research institution?  I want us to investigate the backgrounds and trajectories of composers who are currently teaching at colleges and universities and how they manage to balance between steady creative output and teaching.   Last but not least, how does entrepreneurship play a role during our student years as well as while being a faculty in composition?

Ricardo Lorenz

Let’s unpack that. Got opinions? Drop them in the comments box.

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