Relevant bibliographies by topics / Turnage, Mark-Anthony

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Turnage, Mark-Anthony'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Turnage, Mark-Anthony"

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Pettitt, Stephen. "Mark-Anthony Turnage and 'Greek'." Musical Times 129, no. 1746 (August 1988): 397. http://dx.doi.org/10.2307/965963.

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Conway, Paul. "Recent discs of Mark-Anthony Turnage." Tempo 60, no. 236 (March 23, 2006): 75–76. http://dx.doi.org/10.1017/s0040298206230158.

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Conway, Paul. "London, Barbican: ‘Etudes and Elegies’. Recent Turnage world premières (and CD releases)." Tempo 57, no. 224 (April 2003): 43–44. http://dx.doi.org/10.1017/s0040298203230151.

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This year's BBC weekend at the Barbican dedicated to a single composer was given over to Mark-Anthony Turnage. Even Turnage himself expressed doubts initially about whether his music was diverse enough to withstand such exposure. His worries were unfounded, as the chance to explore his recent output, in particular, revealed a composer who is constantly growing in stature and breaking out in new and fruitful directions.
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Conway, Paul. "Liverpool, Philharmonic Hall and London, Barbican and Regent's Hall: Mark-Anthony Turnage." Tempo 67, no. 265 (July 2013): 73–75. http://dx.doi.org/10.1017/s0040298213000491.

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In a baffling case of unhelpful scheduling, major new works by Mark-Anthony Turnage were showcased by the Royal Liverpool Philharmonic Orchestra and the London Symphony Orchestra in concerts held at the Philharmonic Hall, Liverpool and London's Barbican, respectively, on the same evening – 7 February 2013. Apart from necessitating an explanation for the composer's absence from the RLPO concert in their season's programme book, this double booking resulted in audiences being unable to experience live performances of two of Turnage's most substantial recent orchestral pieces. Surely one of these
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Stein, Robert. "Barbican, London: Turnage's Viola Concerto ‘On Opened Ground’." Tempo 58, no. 229 (July 2004): 73–74. http://dx.doi.org/10.1017/s0040298204220241.

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Not being a string player himself, Mark-Anthony Turnage approached his first concerto for a string instrument with some trepidation. It turns out that while the writing for the viola is idiomatic enough, Turnage has something of a love/hate relationship with traditional ideas about the concerto. Divided into two movements – Turnage admitted that in the unlikely event of his writing a symphony it would have three, five or six movements, never four – the new concerto (completed in 2001 and here given its UK première) has the expected cadenza but one that appears only 36 bars in! Such challenging
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Lister, Rodney. "Proms 2004: Turnage, Bingham, Sheng, Silk Road, Henze." Tempo 59, no. 231 (January 2005): 47–49. http://dx.doi.org/10.1017/s0040298205270055.

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In fulfillment of a commission from the BBC for a work in commemoration of the 75th anniversary of the BBC Symphony Chorus, Mark-Anthony Turnage produced Calmo, an untypically quiet and gentle work for chorus with handbells – and, what has become something of a signature instrument for him, desk bells. The text of the work consists of the words ‘Dona nobis pacem’ and their translations in several languages. It is dedicated to the memory of Turnage's friend Sue Knussen. Calmo's intense eloquence was enhanced by its brevity, and, both despite and because of it, stood out in a program of music fo
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Ebright, Ryan. "Billy Budd by Benjamin Britten, and: Anna Nicole by Mark-Anthony Turnage." Notes 70, no. 1 (2013): 163–65. http://dx.doi.org/10.1353/not.2013.0106.

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8

Graham, Stephen. "Julian Anderson Thebans, English National Opera." Tempo 68, no. 270 (September 4, 2014): 77–78. http://dx.doi.org/10.1017/s0040298214000394.

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In basing his first opera on Sophocles' Thebans trilogy, heard at the ENO on 3 May 2014 in a condensed three-act version, one act per play, Julian Anderson shows his colours as something of a classicist. No postmodern pastiche nor quasi-medieval dramatic innovations for him, as we've seen from near British contemporaries Mark-Anthony Turnage and George Benjamin, nor the technological and dramaturgical explorations of other recent ENO productions, from Two Boys to Satyagraha to A Dog's Heart. No, this is a composer with his feet firmly planted in the grand operatic tradition of classical subjec
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9

Lister, John Rodney. "BBC Proms 2013: Gerald Barry, Peter Eötvös, Nishat Kahn, Frederic Rzewski and Mark Anthony Turnage." Tempo 68, no. 267 (January 2014): 55–57. http://dx.doi.org/10.1017/s0040298213001356.

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Mark Anthony Turnage's Frieze – performed by the National Youth Orchestra of Great Britain, conducted by Vasily Petrenko, on 11 August – and Nashit Kahn's The Gate of the Moon, a concerto for sitar and orchestra – performed by Kahn himself with the BBC National Orchestra of Wales, conducted by David Atherton on 12 August – both raise the question of how, in a new piece, one can meaningfully reference other music. Turnage's work was commissioned by the Royal Philharmonic Society to celebrate the organisation's bicentennial and to share a programme as their most famous and, probably, greatest co
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Pettitt, Stephen. "The Music of John Lambert." Tempo, no. 164 (March 1988): 12–19. http://dx.doi.org/10.1017/s0040298200023792.

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John Lambert, who celebrated his 60th birthday in 1986, is known better as a teacher than as a composer, and despite a formidable list of past pupils, which includes the likes of Javier Alvarez, Simon Bainbridge, Gary Carpenter, Oliver Knussen, Jonathan Lloyd, Ian McQueen, and Mark-Anthony Turnage, that is a situation he and many others view as slightly unfair. His output is not especially prodigious—excluding the chamber opera, A Family Affair, to be performed at the Brighton Festival this year the numbered oeuvres run to 26 in all—yet the quality and frequently the bold originality of his mu
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Dissertations / Theses on the topic "Turnage, Mark-Anthony"

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Styles, Matthew John. "An evaluation of the concept of Third Stream music and its applicability to selected works by Gunther Schuller and Mark-Anthony Turnage." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0224.

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In a public lecture given by Gunther Schuller in 1957, the term 'third stream music' was suggested as a way of describing the combination of 'first stream music' (Western classical) and 'second stream music' (American jazz) within a musical work. 'Third stream' was proposed as a term to denote the fusion of
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Stevens, Nicholas David. "Lulu's Daughters: Portraying the Anti-Heroine in Contemporary Opera, 1993-2013." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1497460068959016.

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Books on the topic "Turnage, Mark-Anthony"

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Mark-Anthony Turnage. London: Faber, 2000.

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Book chapters on the topic "Turnage, Mark-Anthony"

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"Greek Steven Berkoff and Mark-Anthony Turnage." In Opera From the Greek, 183–99. Routledge, 2017. http://dx.doi.org/10.4324/9781315090320-9.

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2

Manning, Jane. "MARK-ANTHONY TURNAGE (b. 1960)Three Songs (2000)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 220–22. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0068.

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This chapter describes British composer Mark-Anthony Turnage’s Three Songs (2000). This assured, agreeably compact cycle should prove a boon to baritones seeking a winning concert item by an established British composer. Phrase lengths are judged perfectly and the range and timbres of the baritone voice are heard with unfailing accuracy. Word-setting is impeccable and plentiful dynamics and nuances help to guide the interpretation. The first two poems celebrate cats (‘The Singing Cat’ and ‘Mourned’—a eulogy for a departed pet); and the last song reflects on the merits of animals in general (‘Last Words’). The score is presented with exemplary clarity, so that performers can assimilate it quickly. The ‘friendly postmodern’ idiom should not prove a barrier—piano parts are light and spare, so useful pitch-cues can be easily heard. The singer will need to be conscientious about tuning intervals. As the piece progresses, there are some wide leaps, but these are vocally gratifying. Although the work is not particularly taxing, it needs a crisp, neat delivery and a secure high range, as well as a lively presence and an instinct for characterization.
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