Last night I embarked on a completely new (at least for me) experiential adventure: a jaunt through various perfume counters in an effort to figure out if my experience of their wares could in any way be analogous to the way I perceive visual art, literature, film, or any of the performing arts—obviously, most of all, music.
Sara Jacovino has been awarded the BMI Foundation's Charlie Parker Jazz Composition Prize, which includes a cash award along with a $3,000 commission.
Compositions by four emerging composers—Yotam Haber, Angel Lam, Jeremy Podgursky, and Tim Sullivan—will be featured by the Colorado Symphony Orchestra in their first-ever new music readings on July 16-17, 2009 in Denver.
Meet The Composer, in collaboration with arts activist and educator Dr. Rae Alexander-Minter, has commissioned compositions by Guthrie P. Ramsey Jr. and Paul D. Miller (a.k.a. DJ Spooky) for the NAACP Centennial Convention on July 12, 2009 at New York's Hilton Hotel Ballroom.
In today's Washington Post: "New Così, Fresh Troubles," by Anne Midgette. Web-only review: Adès Piece Shows NOI Players' Strength by Joan Reinthaler Watching one of the string bass players bowing and plucking away while deep into the body language of ecstasy, you might think that Thomas Adès's "Asyla" was just another poundingly loud contemporary extravaganza. You'd be wrong. This 25-minute, four-movement work, which anchored the last program of this year's National Orchestral Institute Festival at the Clarice Smith Center on Saturday, may paint a vast aural landscape that ranges from powerful emotions to sublime serenity, but it does so with astonishing subtlety. (read more after the jump)
A terrific cover by Neil Young of “A Day in the Life” with a walk-on cameo by Paul McCartney. Young seems profoundly moved at the end, almost tapping into the primal scream John so loved. He didn’t have the courage to smash his guitar, but he broke all the strings instead. It’s ok Neil, we understand.
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Fame at any price. Tell the best story and win the contest... Over the last five years, I have heard some pretty funny and some absolutely amazing stories about what artists have done, and about what artists have been asked to do, to obtain the exposure they are seeking (i.e.: to get signed, to get on the radio, to get into a club, etc.).
The story has to be absolutely true, but you don't have to mention names unless you want to!
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A new podcast by Contemporary Music pianist Seda Röder http://www.sedaroeder.com/blackbox-003/ http://www.sedaroeder.com/podpress_trac/web/526/0/Blackbox_003.mp3
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Agora Festival: Week Two - Musical Criticism
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Lee Ranaldo of Sonic Youth - Eye Weekly Lee Ranaldo of Sonic Youth Eye Weekly What would be a typical Geffen reaction when you came up with something that was more avant-garde than they were used to? Well, we learned not to bring that ... and more »
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The Halfway Point - Paste Magazine The Halfway Point Paste Magazine Add the tribal chanting and the horn section cribbed from avant-garde jazzbos The Art Ensemble of Chicago and you've got something very rare and special ... and more »
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Ed Palermo Gives Frank Zappa A Jazz Makeover - antiMUSIC.com
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Sonic Youth slows it down - Metro Canada - Toronto
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Some new voices in chamber music - Philadelphia Inquirer Some new voices in chamber music Philadelphia Inquirer Flutist Mimi Stillman asked this question through the introduction of her latest concert by Dolce Suono, the chamber-music collective she formed and directs ... and more »
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SF Mime Troupe turns 50 - San Francisco Chronicle SF Mime Troupe turns 50 San Francisco Chronicle Collaborators at the time ranged from composers Steve Reich and Morton Subotnick, artist Bill Wiley, filmmaker Robert Nelson and Lawrence Ferlinghetti to ... and more »
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A Little Slow with the Index Cards Perfect Lives . Of course I think Perfect Lives (then titled Private Parts ) was the onset of the spectacular part of Ashley's career, the moment at which he transcended the post-Cage conceptualist movement he was a player in. The piece will get an entire chapter in my upcoming book. And as we discussed it I learned that I had been involved in the world premiere. On October 24, 1979 - I have the poster for the performance in my living room - Ashley and "Blue" Gene Tyranny came to Northwestern University, at the invitation of my composition teacher Peter Gena, to perform Private Parts in its entirety for the first time. I had forgotten, if I knew then, that this was the first complete performance. Bob, as was his wont, needed a bottle of vodka to drink during the performance. As the grad student go-fer in charge, it was my job to drive in a rush to Desplains, Ill. (since Evanston, home of the Women's Temperance Union, was a dry town) and buy the vodka. Vodka was a little heady for my taste at the time - a 1994 trip to Warsaw would change that - so, imitating my hero, I picked up a bottle of wine for myself. Bob was then performing the piece by reading the text from a video monitor. Technology being what it then was, the monitor was connected to a backstage camera, and someone had to hold index cards containing the text in front of the camera. That someone was me. So Bob was onstage drinking vodka, "Blue" was playing the piano in his inimitably gorgeous way, and I was backstage sipping wine while moving cards in front of a video camera. At one point late in the piece I was a little slow, and I heard Bob patiently say, in the middle of the text, "Kyle...."
Bob had given a talk to the grad composition/theory students that afternoon. Afterward, the chair of the department asked me if I had understood anything Ashley was saying. He clearly hadn't. I said, "Of course!"
Somewhere in the Northwestern library is a tape of the premiere performance of Perfect Lives , personalized, with my name in the middle of it. I looked for it once and couldn't find it, but then I also looked there for one of the famous Julius Eastman tapes that later came out on New World, and couldn't find that because it wasn't labeled, and it eventually turned up. But I didn't realize that Bob had never performed the whole thing before. It was my favorite version of Perfect Lives ever, just Bob and "Blue" with a drone on a background tape, before Jill Kroesen and David Van Tieghem and a dozen other elements were added in for a kind of information overload. It was still like his "Yellow Album" that came out that year. And, discussing it with Bob last week, I suddenly went from being a historian taking notes to reminiscing about something Ashley and I had done together. What a weird double feeling, like I was part of the history I was writing about.
I'm feeling old lately. I'm only 53, but I seem to be so focused on the past, my own and everyone else's.
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Column #54 Chamber Music magazine this week.
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One Reckless Berry Probably had not done any composing proper since late April — but then, I’ve had the recitals to arrange and prepare for. Now I’ve gotten a start on the new fl/cl duet, Heedless Watermelon
[ click on image to enlarge ]
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Los Angeles New Music Ensemble [del.icio.us]
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Young Avant-Gardists at Play
This is the submission under the name "Dennis" in the 1963 book An Anthology edited by La Monte Young and Jackson Mac Low, and of course it's Dennis Johnson. (Sorry, I have an obsessive personality, and right now the latest of many, many obsessions is Dennis Johnson. Next up: Robert Ashley.) You may recall the book as a collection of outrageous avant-garde gestures and essays (I saw a copy on sale at Dia Beacon recently with a hefty price tag), and this letter from Dennis came as a loose piece of paper in an envelope pasted on one of the pages. I bought the book when I was in high school, probably 1970 or '71, and have guarded my copy carefully for four decades. I didn't instantly connect "Dennis" with Johnson, but the all-caps handwriting is identical to that on the score to November . Also, Young mentioned in his semi-famous "Lecture 1960" that Johnson had written him, in response to a famous Cage story, that "THERE'S TOO MUCH WORLD IN THE EVIL," and that line comes from the back of this document. The envelope bears a postmark of March 11, 1960, and Dennis mentions on the back that he's 21, which, assuming it's not a joke, places his birthdate at 1938 or '39 - the first mention I've seen of his age. He doesn't have an entry in Grove , nor even in Wikipedia.
There are other references to Cage. "SOUNDED SO SADWIRROWTLEE" is doubtless a reference to a satire of Japanese poetry Cage included in
Silence (1960). In the upper lefthand corner is a rather insulting reference to Stockhausen, and on the back Dennis mentions a desire to spit at Stockhausen ("YOU SEE I'M FULL OF DESIRES"). La Monte went to Darmstadt in 1959, and
somewhere he mentions that Johnson was going to accompany him, but caught pneumonia and had to stay in New York with electronic composer Richard Maxfield, so he had already missed getting his wish. In March 1960, Terry Jennings was 19, La Monte 24, and Dennis apparently 21, and their lives clearly revolved around Cage and Stockhausen, with a curious mixture of attraction and antipathy for the two of them. La Monte had written his Trio for Strings in 1958, and, inspired by that, Johnson wrote
November the following year. Later in 1960 La Monte started his avant-garde series in Yoko Ono's loft, and Downtown music was born.
This silly letter has stuck in my mind since I was younger than the brash avant-gardist who penned it, and it's funny to think that 40 years later I would become so involved with the work of this irreverent youngster. I'm in love with November ; I'm in the process of making my own four-hour recording of it, so I've been listening to it at home as music, and not just as a tape-hissy historical document with a dog barking in the background. (My dog Gita, named for the woman who taught Cage about Indian philosophy, responds in kind whenever the dog appears.) Forgive me for being so coy with the results, but I don't want to steal too much thunder from our premiere at the minimalism conference. Give me a couple of months, and you'll hear more about November , and the guy who wrote the above letter, than you ever thought you'd learn. Meanwhile, I'm all caught up in the mindset in which minimalism was born: not the Famous Four minimalists, but the pre-famous three from California, Johnson, Jennings, and Young.
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June 29, 2009
Impotent Teeth (a palette cleanser) an earlier post . This song will probably be placed somewhere in the middle of “Thirteen Near-Death Experiences” as a respite. It is silly, but I like it.
The instruments are alto flute, clarinet, egg shaker, piano, violin, and cello.
Impotent Teeth
Download Score (PDF )
Evidently based on
See how my deplorable breath
All kinds of mouthwash
To you I bequeath
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Instrumentals: Prelude and Interlude
“Interlude” is a place right in the middle of the piece where I get to take a break and do something besides sing. I might have a glass of milk and/or do a private dance to blow off steam!
The instruments in “Prelude” are: piccolo, clarinet, castanet, piano, violin, and cello.
Prelude
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The instruments in “Interlude” are: flute, bass clarinet, drum set, piano, violin, and cello.
Interlude
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Touch Me Where It Counts
The instruments in this song are flute, bass clarinet, drum set, piano, violin, and cello. Musically, I’ve been a little more conservative with this song, incorporating a lot of doubling (many of the instruments playing the same material at the same time) and less rhythmic independence. But the singer’s part is perhaps more iconoclastic than any of the other songs, pushing against the instruments most of the time. I hope it works…
Touch Me Where It Counts
Download Score (PDF )
Our chronically platonic
Why don’t you touch me where it counts
It’s no fictional condition
Why don’t you touch me where it counts
How impressively aggressive
Why don’t you touch me where it counts
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Someone Will Take Care of Me Emma and Yvan a few days ago, we discussed an emerging progression in the songs so far. There’s a sense of moving through someone’s life — following the different health-related issues that concern him in childhood, adolescence, young adulthood, middle age, and old age. It seems that the songs in Thirteen Near-Death Experiences can be presented in an order that makes such a progression implicit, if not obvious.
So what does the end of that progression look like? What would be the final thoughts expressed in this piece? Almost all of the songs in Thirteen… have a mood of extreme loneliness, so I thought the final song should present a possible remedy.
I remembered the first time I was sick away from home — my first time being sick and having no one around to help take care of me. I had to make my own soup. I had to go to the grocery store nauseous to buy soda and saltines. That’s part of the inspiration for this song — the finale of Thirteen Near-Death Experiences . When the singer finally succumbs to his unavoidable terminal illness, when he’s admitted to the hospital in serious condition, his loneliness will at last be assuaged… because someone will be required to take care of him.
The instruments in this song are: flute, clarinet, drum set, piano, violin, and cello. I have some concerns that the lyrics may be over the top (although I also have a strong desire to change the line “Someone who never scowls” to “Someone who never scowls when my bowel growls” or “Someone who never scowls at my fowl bowel”). I also want to know if/how I should musically fill in the gap between the second chorus and the third verse. What do you think?
Someone Will Take Care of Me
Download Score (PDF )
I’ll be a shut-in someday soon
Someone will take care of me
Someone who’ll wrap me in warm towels
Someone will take care of me
[What to put here? Instrumental solo, more lyrics, a dance?]
Someone who’ll hold my dead hand
Someone will take care of me
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Teasers Tonight and tomorrow are the premiere performances! Here’s an audio excerpt from our dress rehearsal, recorded and mixed by our amazing sound engineer Ryan Streber . And below is some preview press we’ve received.
Someone Will Take Care of Me (excerpt)
from this week’s issue of Time Out New York
from this week’s issue of the New Yorker magazine:
INTERNATIONAL CONTEMPORARY ENSEMBLE: “NEAR-DEATH EXPERIENCES AND OTHER LIVE ACTS”
Some artists communicate their intentions in neon lights, lest we miss them. “Thirteen Near-Death Experiences,” a new piece of music theatre by Corey Dargel, seems to be a departure from his wellestablished (and cunningly made) mock-trivial art-pop style. It will be the major offering in a concert by the stunningly expert new-music band that also features three other world-première scores, by the young composer-performers Stephen Lehman, Nathan Davis, and Mario Diaz de León. (P.S. 122, First Ave. at 9th St. 212-352-3101. May 22-23 at 8.)
from today’s NY Times :
ICE (Friday) The centerpiece of this program by the energetic ICE (International Contemporary Ensemble) is “Thirteen Near-Death Experiences” — a work about delusions and hypochondria — by the inventive young composer Corey Dargel. Music by Nathan Davis, Mario Diaz de León and Stephen Lehman fill out the program. At 8 p.m., Performance Space 122, 150 First Avenue, at Ninth Street, East Village, (212) 477-5829, ps122.org ; $20; $15 for students and 65+. (Allan Kozinn)
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Another Sketch for TWBL Subscribe here:
This is a work in progress...
Each chord can have a variety of alterations: straight, trill, or slide. The trills and slides move each note in a triad up or down by a step in the otonality scale. Bb 16/9 can go up a 9:8 to C 1/1 or down a 7:8 to Ab 14/9. The D 10/9, which is a 5:4 above the Bb 16/9 can go up an 11:10 to Eb 11/9 or down a 9:10 to C 1/1. And the F 4/3 a 3:2 above Bb 16/9 can go up a 7:6 to Gb 13/9 or down a 11:12 to an Eb 11/9. The slides are nice and sweet. Here is the glissando up a 12:11 in Csound:
f 323 0 256 -7 1 64 1 128 1.0905077 64 1.0905077 ; 12:11 22 up 9
And here it is graphically, as rendered by Csound to a PDF file:
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Stereophile reviews Phil Kline's Daze DVD from Starkland Stereophile , Starkland's Phil Kline: Around the World in a Daze DVD receives an enthusiastic review in Kal Rubinson's surround sound column:View Starkland's complete catalog.
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summertime news and notes
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Rockin' pneumonia op-ed in The New York Times over the weekend busting the chops of the proposed "public option" for health care reform in the US, that idea of creating a government-run, (probably) tax-subsidized competitor to private health insurance companies, with the goal of universal coverage. Mankiw objects because he can't see how the system would be "fair," an argument that I confess always seems a little odd to me coming from a market economist, but that's because I tend to regard markets as entities that, on a fundamental level, leverage unfairness. But his characterization of a government-run insurance plan as a monopsony caught my eye.This lesson applies directly to the market for health care. If the government has a dominant role in buying the services of doctors and other health care providers, it can force prices down. Once the government is virtually the only game in town, health care providers will have little choice but to take whatever they can get. It is no wonder that the American Medical Association opposes the public option. Monopsonies—markets dominated by a single buyer—never seem to get the PR that their single-suppler monopolist cousins do, but both of them have similar potential to screw the workers, in revolutionary-slogan terms: if monopolies can price goods out of proportion to the wage market, monopsonies can squeeze wages out of proportion to the marketplace. (You owe your soul to the company store.)once analyzed orchestras as monopsonist entities, so one might be tempted to compare notes, as it were, to try and predict how a health-care monopsony would resemble the orchestral world.On the basis of that, professional wages would, probably, go down. Sure, a few conductors and soloists are really raking it in, but the majority of orchestral musicians are probably sneaking into the middle-class through the back door (and via multiple jobs). For comparison, Mankiw links to some data that puts the average US physician income at $199,000 a year. $199,000! For an orchestral musician, that's Big Five money—and it's probably not coincidental that the Big Five are all in cities that support enough musical activity to dilute those orchestras' monopsony power.The Rite of Spring ? Other repertoire that, a lifetime ago, would have been out of reach for all but the best groups? Happens all the time. There are enough musicians who love their jobs—in economic terms, who sufficiently value the positive externalities—to put up with the reduced income. The flipside is the number of talented people who leave music for better-paying pastures—or who never embark on a music career in the first place. So, if the model holds, what you'd likely end up with is a health-care system full of doctors who really love their job, and a nagging, probably unquantifiable sense of a lot of talent opting out of the sector. (Not that it doesn't already—how many potentially brilliant physicians have disappointed their mothers by sticking with the violin?) Other parallels, both incumbent—the movement of musicians from market to market as compared to the current patchwork of local health-care monopsonies resulting from state-by-state regulation—and potential—the pitfalls of a board-led philanthropic model vis-à-vis prospective models for maintaining government-subsidy accountability—could also be interesting.enormous effect on how monopsony power plays out in the marketplace. Look at the Department of Defense, possibly the biggest monopsony in the world—that market rarely gets squeezed, either in price or quality, because of its political impregnability. So comparing doctors and section woodwinds, while fun, probably only yields small-potatoes results in comparison with the real question, whether universal coverage would meet with enough approval for the resulting political fairy dust to inoculate any resulting monopsony from negative externalities. And that , in turn, is a lesson for orchestras. Hearts and minds , people.
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laboratory tests of vegan restaurants in la | vegan food and living in Los Angeles [del.icio.us]
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New board members ready for challenge - LA Daily News [del.icio.us]
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Mahler Chamber Orchestra / Aimard at the Aldeburgh Festival - Telegraph.co.uk
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Monday Links
Is criticism democratic? Attaque (Guardian) | Riposte (Minnesota Orchestra)
“There may be more of them, not fewer, as the ability to participate in journalism extends beyond the credentialed halls of traditional media. But they may be paid far less, and for many it won’t be a full time job at all. Journalism as a profession will share the stage with journalism as an avocation. Meanwhile, others may use their skills to teach and organize amateurs to do a better job covering their own communities, becoming more editor/coach than writer. If so, leveraging the Free—paying people to get other people to write for non-monetary rewards—may not be the enemy of professional journalists. Instead, it may be their salvation.” [shudder ] Chris Anderson in Free: The Future of A Radical Price
Language is a uniquely human gift, central to our experience of being human. Appreciating its role in constructing our mental lives brings us one step closer to understanding the very nature of humanity. Does our language shape the way we think?
2 randoms chosen from Chris Foley’s Pageflakes : Ionarts – A mon chevet: Debussy & Wagner | A Monk’s Musical Musings
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A Chapter from The Listen: Music for 18 Musicians [del.icio.us]
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Glows In the Dark Live on WFMU (mp3s)
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Bucket of Truth The other night I woke up from a vivid dream in which Anne Midgette was trying to prove that Charles Ives was gay using musical examples from his First Piano Sonata.
The main thrust of this dream (so to speak) was clearly a reproach: I need to finish memorizing that monster of a piece before I go off to the delightful Ojai Festival . And the second thrust was another reproach cum regret: that I have not yet mentioned Anne Midgette’s ambitious and wonderfully interactive blog on Think Denk! And welcome, while I’m at it, to Stephen Hough , an idol of mine since a long time. The musicological implications of this dream we shall abandon for the time being.
“Leon,” I said, “you’re a soldier wounded upon the fields of music.”
He fixed me for a moment with his lucid blue eyes. I had no idea what would come out of my idiotic metaphor.
“And you’re Walt Whitman,” he said.
During the stunned pause while I absorbed this, a faint impatient horn from Central Park West was carried up to us on spring breezes. He had taken my stupid conceit and hung meaning upon it. And here I thought I was coming to offer HIM assistance in time of need. From Whitman’s hospital notebooks :
… that night at the church in the woods … previously, the silent stealth march through the woods, at times stumbling over the bodies of dead men in the road … between midnight and 2 o’clock we halted to rest a couple of hours at an opening in the woods — in this opening was a pretty good sized old church used impromptu for a hospital for the wounded of the battles of the day thereabout — with these it was filled, all varieties horrible beyond description — the darkness dimly lit with candles, lamps, torches, moving about, but plenty of darkness & half darkness — the crowds of wounded, bloody and pale, the surgeons operating — the yards outside also filled — they lay some on blankets, on the ground & some on stray planks — the despairing screams & curses of some out their senses, the murky darkness, the gleaming of the torches, the smoke from them too, the doctors operating, the scent of chloroform, the glisten of the steel instruments as the flash of lamps fell upon them …
Around us the room once bedroom, now impromptu workshop, the corners of the TV tray crammed with CD covers, medical implements, the midday light peering dimly through the drawn curtain, scrawled scores, an electric keyboard with a well-padded chair in disuse, books upon books, typed comments for future editing huddled between those, awaiting their moment, a walker, a Bose CD player stacked with hand-burned copies of past concerts — so many notes and thoughts about notes trying to resolve themselves — the glint off backs of CDs, the question marks on the dates of past performances, the faint snore of the disinterested dog, a life’s wounds bandaged with music and then the music itself becomes the wound.
Yes, I’ve long wanted to be Walt Whitman. A poet of the piano, American, disheveled, ambiguous, over the top, God, Leon knows me so well!, and he nailed me straight onto my deepest (possibly humiliating) desires. Just when you think you’re coming to offer someone else something, they throw a giant bucket of truth onto you.
Before I can really process all this, Leon leaps into one of his amazing branching stories. It’s like a tree of life experience that you huddle under, while the rain of the present moment leaks through.
Originally
posted by Jeremy Denk
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Against superstition
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Sun Ra chronicled in film, lectures & more - Philadelphia Inquirer
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Make Music New York
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Tortoise
-
Tortoise finally make their jam band record, but manage to wonderfully blend it with both the dance- and lounge-rooted aspects of their sound. [Brian Howe]
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Worst of the Worst of the Worst... of the Worst
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You balance the budget - Los Angeles Times [del.icio.us]
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The Make Music festival overtakes New York. - New Yorker
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from lutoslawski OR xenakis OR boulez OR Dutilleux OR ligeti OR "elliott carter" OR stockhausen OR "steve reich" OR "tristan murail" AND music - Google News ,
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June 28, 2009
Worthy offering after disappointing start - The Age
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from lutoslawski OR xenakis OR boulez OR Dutilleux OR ligeti OR "elliott carter" OR stockhausen OR "steve reich" OR "tristan murail" AND music - Google News ,
ReBlogged by newmusicrebloggers on Jun 28, 2009 at 08:11 PM
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*Click* In a high school band room in 1994, Miss Mussel discovered that there was more to music than Andrew Lloyd Weber medleys, marches and the James Swearingen catalogue. Gustav Holst’s Suite No.1 For Military Band in Eb major was the one that started it all. It was difficult but not unplayable and each run-through brought measurable improvement. The best part was that it elicited an emotional reaction – something Memory, Blaze Away or Novena never quite managed.
As a new horn player, the F above the staff in the Chaconne solo was Miss Mussel’s nemesis, sniffing haughtily every time its heights were not quite attained. That it appeared as the second half of a rising perfect fourth at the end the melody, when air and lip endurance were at a premium, only heightened the indignation.
Another reason this piece was so well-loved is that Holst actually gave the horn a part that was interesting (those went to the euphonium in marches) and independent from the vile alto saxophone. At the high school level, most band arrangements double alto sax and horn or provide cues in the sax part should the horn player falter or not exist. This was a source of endless aggravation for Miss Mussel as many a solo got co-opted by Saxe’s infernal invention.
You cannot even begin to imagine Miss Mussel’s excitement upon discovering that orchestras had neither euphoniums nor saxophones. Result!
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posted by Miss Mussel
from The Omniscient Mussel on Classical Music & Culture ,
ReBlogged by newmusicrebloggers on Jun 28, 2009 at 08:11 PM
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60x60 Dance @ the Winter Garden, NYC (11/14/08) [ShivRaj/Burger] Rain Dance
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from 60x60 ,
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Along the river I've long imagined that music had two origins. The first as a extension or heightened form of speech, essentially and immediately communicative in function, and the second, more absolute and aesthetic in nature, an articulation of time passing, as relief from boredom, accompaniment to work, travel, falling into sleep (and dreams). These two causes have long been comingled in music, but I'm not altogether sure that that is a good thing.
I was reminded yesterday that not only does music articulate passing time, but it can also articulate space. It has a physical presence with a center which it fills and thresholds into which it dis- and reappears. I went cycling with the family alongside the Nidda, a small river near our house which empties south of us into the Main. A lightly clouded Saturday in June was a perfect day for festivals, and as we passed over the bridge in Praunheim, a cover band on could be heard from a stage some hundred metres away in the center of the village. As we drove on, that sound steadily evaporated with distance and barriers both natural and human-made. Further on up the river, as we approached Heddernheim, small fragments of low brass intercut with bits of snare drum begun to cross our path, eventually revealing themselves as whole swathes of tunes and countermelodies and bass lines played by the local Fanfarenzug. With a weakness for brass bands, I swerved off the path into a churchyard to hear the wind band more closely, especially enjoying the way in which the percussion was used to provide a continuous bed of sound for the winds, and the gradual addition of the more higher pitched (and consequently more highly attentuated by physical distance) instruments to the total mix. Cycling onward, the process was reversed and Heddernheim receded both as a civic and acoustical location. The next villlage up the river soon spoke for itself in quite a different way, through a peal of church bells, announcing the hour, or — for it seemed to go on longer than usual — perhaps a special event, maybe a Saturday wedding in June. As we went further upriver, the gently creaking sounds of the river and the whirr of other bicycles, sometimes the steps of joggers (some of whom put their iPods or mp3 players up loud enough to "share") were only interrupted by a pair of bridges underpasses with their ignorable traffic, a family of insistant swans at the edge of the water, and a pair of soccer matches. Each physical space we approached, passed by or through, or departed, was as recognizeable from its acoustic signature as from its physical shapes and forms. Having ears means time — and space — passing need never be dull.
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from Renewable Music ,
ReBlogged by newmusicrebloggers on Jun 28, 2009 at 02:10 PM
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Regional arts and entertainment events - Philadelphia Inquirer
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ReBlogged by newmusicrebloggers on Jun 28, 2009 at 08:12 AM
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In Performance: NOI and the New; Welsh National Opera
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from The Classical Beat – Classical Music Forum – washingtonpost.com ,
ReBlogged by newmusicrebloggers on Jun 28, 2009 at 01:59 AM
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Darn cassettes I thought it was peculiar that my fabulously new, hi tech Acura TL would have a cassette deck. I knew the end was coming for the audio cassette, but didn’t realize how soon that it would be.
Today, I got out my trusty old Sony Professional Walkman cassette recorder, and for the first time since 1972, it didn’t work. I had another one around the house with a double well: it too was broken. I looked online and saw that they do still exist, but being impatient I went to my local Best Buy, Radio Shack, Guitar Center, and Target — all looked at me like some relic of the past and said that they don’t carry cassette decks. Blushing, I left to return home and placed my order on ;Amazon for an Ion cassette deck that outputs to USB so that I can archive the cassettes that I have not yet digitized.
If any of you have valuable cassettes, transfer the data SOON, or you’ll lose it.
Originally
posted by Roger Bourland
from rogerbourland.com ,
ReBlogged by newmusicrebloggers on Jun 28, 2009 at 01:59 AM
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Igor Stravinsky, "Canticum Sacrum" & "Symphony of Psalms" Canticum Sacrum Symphony of Psalms
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ReBlogged by newmusicrebloggers on Jun 28, 2009 at 01:58 AM
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Ivo Malec, "Triola" Turpituda 9'30" + long silenceOmbra 12'03" + long silenceNuda 12'30" + long silenceBIZARRA 7'30"
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from ANABlog ,
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"Go on Singing. Maybe a man's name doesn't matter, all that much." F for Fake , which is a unusual and spectacular film from 1974 that he wrote with Oja Kodar about fakery in the worlds of art, biography, and film. It is also Wells' confessional about his own past as a kind of charlatan--as a "failed" artist, and as an accidental actor. His final statements about art and identity are astounding.
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from Musical Assumptions ,
ReBlogged by newmusicrebloggers on Jun 28, 2009 at 01:58 AM
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The Music Of Poligraf : Into The Ashram (Ashram by Nicholas Roerich )
An instrumental in 4 movements (The Ordinary, Running Out Of Breath, Dweller On The Threshold, Jambudvipa), the composition aims to evoke the progress of an individual getting fed up with their day to day life to the point of taking an extended time off for reflection and introspection.
Wikipedia :
It is in Jambudvipa that one may receive the gift of Dharma and come to understand the Four Noble Truths, the Noble Eightfold Path and ultimately realize the liberation from the cycle of life and death.
In a way, both the ordinary and Jambudvipa can be taken to be coextensive, or sharing the same spatial extension if you prefer, as it is the mindset or attitude of the individual that determines in which they abide. In other words, the ashram that is referred to isn't necessarily a physical location, for instance some building located in India, but can also mean a mental construct, or a way of doing things. In that sense, the piece depicts an inner journey beginning from over-activity and ending in temporary seclusion, where reflection and healing can take place.
The Music Of Poligraf series are reposts of writings and audio clips that have been originally published on The Goal Was So Near from November 2008 to April 2009, made available for those who missed the original Clip Of The Day series.
Music section of our website and support our efforts by pre-ordering our first album entitled Samsara .
Originally
from Everyone's Blog Posts - NetNewMusic ,
ReBlogged by newmusicrebloggers on Jun 28, 2009 at 01:57 AM
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Just Announced: "Apolkalypse Now" Lara St. John ON SALE NOW here .
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from (Le) Poisson Rouge ,
ReBlogged by newmusicrebloggers on Jun 28, 2009 at 01:56 AM
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June 27, 2009
Resurrection of the Passion (So to Speak) The voice of the people Sine Nomine Choir Paul Cienniwa’s Henning Opus 92 on 20 & 21 March 2010, in New Bedford & Fall River, Massachusetts.
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from henningmusick ,
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Notating Dennis I've come up with what I think is a comfortable performance notation for Dennis Johnson's November . It's all noteheads in a pulseless continuum, but I needed to preserve his motivically significant phrasing without imposing any kind of rhythmic grid. So I made a Sibelius score of 5/4 measures, each lasting ten seconds at 8th-note = 60, and within that placed each note where its attack point comes on the tape, to the nearest 16th-note. Then I went through and deleted all rests, stems, and bar lines, reducing the music to stemless noteheads. The result is pretty much in proportional notation; Sibelius shifts the rhythmic spacing for readability, but I used small-value rests throughout to squeeze the music into relative space-time uniformity, certainly close enough, I think, for intuitive performance purposes. (If there's a way to make Sibelius absolutely proportional, I'd love to hear it.) Hoping you can read it squeezed into this space, here's a sample of the result (each system represents one minute):
And here's an mp3 of this passage in the original 1962 recording so you can compare. (I suppose you might have to reopen Postclassic in an additional browser window to listen and follow along at once.) This is one of my favorite moments in the performance, where the relatively dense (by '50s minimalism standards) section on the dominant of G# minor gives way to a kind of beatific deceptive cadence and much slower material. Each section of the piece, each tonality, has its own atmosphere and tempo that seems drawn from the intervals played around with.
And that's the problem: you can't gather that from the original notation. The first three systems above are all drawn from this little bit of Johnson's score labeled IIIa and IIIb:
Wherever this material recurs, it's the fastest part of the piece, with a kind of anxious melody leading down from F# to D# to C#. In some notes he apparently made later in the 1980s, Johnson singles this material out to try to figure out what his logical process was, which was a kind of ABACABACDCDB, and so on, among closely related figures. The E major material that follows, on the other hand, doesn't appear in the manuscript score at all. The piece is intended to be improvised from the scores, and needn't duplicate the tape; in fact, an alleged four hours is missing from the tape. So neither the score nor the tape is sufficient to construct a performance. Using the score, a pianist could play the work, but only after considerable study of the available 112 minutes on the tape, to find out how Johnson moved from one section to another and how he characterized the material in each section. It's a peculiarly hybrid form of improvisation, in which you're limited to what's on the page, but the page isn't enough. Hopefully my transcription will yield up enough analytical insight to resurrect some version of the whole thing.
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from PostClassic ,
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Interview: Bob Brookmeyer (Part 5) - All About Jazz
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from lutoslawski OR xenakis OR boulez OR Dutilleux OR ligeti OR "elliott carter" OR stockhausen OR "steve reich" OR "tristan murail" AND music - Google News ,
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60x60 Dance @ the Winter Garden, NYC (11/14/08) [Clark/Blanchard] Babayaga's Chicken Dance
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from 60x60 ,
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Golly tabloid opera
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from henningmusick ,
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Back of the envelope Having faced the reality of not programming The Angel Who Bears a Flaming Sword the half-hour recital at King’s Chapel , Peter & I are rapidly addressing the task of rustling up another venue.Fragments Blue Shamrock The Angel Who Bears a Flaming Sword Irreplaceable Doodles [ new fl/cl duet ] — 6 minutes
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New venue for Mobtown Modern - Baltimore Sun New venue for Mobtown Modern Baltimore Sun, United States There's "High Art," too (March 17), when flutist Katayoon Hodjati and clarinetist Jennifer Everhart head into the upper register through music by Philip Glass , Kaija Saariaho, Pierre Boulez and more. The season also includes concerts devoted to a new ...
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from "wolfgang rihm" OR "joan tower" OR "philip glass" OR "john adams" OR "conlon nancarrow" OR "tristan murail" AND music - Google News ,
ReBlogged by newmusicrebloggers on Jun 27, 2009 at 11:53 AM
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A life in music: Steve Reich - guardian.co.uk A life in music : Steve Reich guardian.co.uk But with the support of Michael Tilson Thomas and others, Reich, Philip Glass and Terry Riley began to be taken more seriously. Alex Ross has written how ... and more »
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from "wolfgang rihm" OR "joan tower" OR "philip glass" OR "john adams" OR "conlon nancarrow" OR "tristan murail" AND music - Google News ,
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Festival Doesn't Sound Very Musical This Time - New York Times
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ReBlogged by newmusicrebloggers on Jun 27, 2009 at 11:52 AM
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This Weekend in Washington: Highlights
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from The Classical Beat – Classical Music Forum – washingtonpost.com ,
ReBlogged by newmusicrebloggers on Jun 27, 2009 at 11:52 AM
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Jeff Harrington - String Quartet #5 - Premiere Live Recording by Quatuor de Orchestre 2021 Jeff Harrington - String Quartet #5 - Premiere Live Recording by Quatuor de Orchestre 2021 http://jeffharrington.org
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ReBlogged by newmusicrebloggers on Jun 27, 2009 at 11:52 AM
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The Ed Palermo Big Band Pays Tribute To Music Legend Frank Zappa - eJazzNews
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from "contemporary classical" | "avant garde" music - Google News ,
ReBlogged by newmusicrebloggers on Jun 27, 2009 at 11:51 AM
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So What does the Internet Think about Modern Music? Modern Music: 47+ 52%- Avant Garde Music: 90%+ 9%- Experimental Music: 98%+ 2% -
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from Discussion Forum - NetNewMusic ,
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187 :: 26 June 2009 :: Xenakis
About Iannis Xenakis, his teacher Olivier Messiaen said: “He is very difficult to define. Firstly he is Greek - there’s nothing to be done about it - that lucidity of spirit, that speed. If you look at the great classical theater of Aeschylus, of Sophocles, of Euripides, these were prodigiously intelligent people but the subjects were horrible… appalling! They are horrendous crimes! There is a certain savageness, and he has a little of it. He has a certain cruelty … yes. Finally what he has done, he has used mathematics, he has used architecture, in order to compose and that has given something which is totally inspired, but is complete outside .Which belongs only to him, Which no one else could have done! That has an impact, a force. That is power .” (quoted in Xenakis
We conclude our mini-festival of the music of Iannis Xenakis (1922-2001) with some of his most powerful works:
Polytope de Montreal - Sound and light show, music for four identical orchestras (1967)
ST/48 for 48 instruments (1962)
Syrmos for 18 strings (1959) Edition RZ 1015 (2003)
/>
Palimpsest (1979) for piano, 6 drums, winds, & strings - The Society of New Music, Aki Takahashi, piano, Charles Peltz, cond
Mists (1980) for solo piano - Aki Takahashi, pnoMode 80 (2006)
For more information about Iannis Xenakis, see:
Originally
posted by rchrd
from Music From Other Minds ,
ReBlogged by newmusicrebloggers on Jun 27, 2009 at 08:12 AM
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Festival Doesn't Sound Very Musical This Time - New York Times
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The Faithful Muse
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from henningmusick ,
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Arnold Schoenberg, "String Trio"
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from ANABlog ,
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Olan & Miller COMPOSITION FOR CLARINET AND TAPE (1976) 5:35Composition for Clarinet and Tape , I wanted to incorporate the unique characteristics of each medium: drawing on the expressivity and fluidity of the clarinet as well as the extremes of speed, register, dynamics and percussiveness which can be achieved only with tape. I meant for this juxtaposition to be felt within a process of accommodation between the two worlds, with each medium having the opportunity to reinforce and support the other. The tape was realized at the Columbia-Princeton Music Center, and employs only electronic sources."Piece for Clarinet and Tape was my first attempt at electronic music and the tape part contained many flaws. In this recording Dr. Kireillis uses a new version of the tape part that I finished in January, 1982. I used a Sigma IX computer, a facility of the Music Technology Program at Oberlin College Conservatory of Music. The programming was MPL (Music Program Library), developed by Gary Nelson."
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ReBlogged by newmusicrebloggers on Jun 27, 2009 at 03:36 AM
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A life in music: Steve Reich - guardian.co.uk A life in music : Steve Reich guardian.co.uk I'm over 70 now, but most of the rockers seem to be over 60, so I'm qualified by age It took Steve Reich some time to appreciate that the near riot provoked ... and more »
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from lutoslawski OR xenakis OR boulez OR Dutilleux OR ligeti OR "elliott carter" OR stockhausen OR "steve reich" OR "tristan murail" AND music - Google News ,
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June 26, 2009
Some Days You Just Can’t Get Rid Of A Bomb
Alternate Title: Jumping The Shark
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Originally
posted by Miss Mussel
from The Omniscient Mussel on Classical Music & Culture ,
ReBlogged by newmusicrebloggers on Jun 26, 2009 at 11:12 PM
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A Day of Music
Make Music New York .
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from NewMusicBox ,
ReBlogged by newmusicrebloggers on Jun 26, 2009 at 11:11 PM
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I’m in a band… [del.icio.us]
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posted by pbailey68
from paulbailey.us (beta) ,
ReBlogged by newmusicrebloggers on Jun 26, 2009 at 11:10 PM
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Just Released: "New World Ardor"- NetNewMusic [del.icio.us]
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posted by pbailey68
from paulbailey.us (beta) ,
ReBlogged by newmusicrebloggers on Jun 26, 2009 at 11:10 PM
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Composer Competitions: Myths and Facts
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from NewMusicBox ,
ReBlogged by newmusicrebloggers on Jun 26, 2009 at 08:11 PM
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I Wish I Could Move Like Michael Jackson
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from NewMusicBox ,
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Forestalling the Gong There is artistic value for the composer in consider ing the question of excisions/revisions; either one find s them actually called for, or (ideally) there e m e r g e s a clear er understand ing why the composition as it stands, should be left in situ .
As I often find, where one day I perceive a musical problem, I ‘sleep on it’, and in the morning I find an elegant solution ready to hand.
In my post yesterday, I entertained the idea of abbreviating stars & guitars ; on reflection, though, I realized that the proposed abbreviation (starting the piece at a later point) in effect cuts out the piece’s roots . . . one of the formative inspirations for the opening two sections, was a Morton Feldman piece I had been listening to a great deal. In the event (as generally, and happily, happens) I write my own piece, rather than (in this case) faux -Feldman . . . the long and the short of it is, I withdraw the suggestion on better consideration.
That point considered moot, then ; what to do?
The simplest path to a half-hour program for the 28 th is, drop The Angel . We can substitute an arrangement of a 2-minute extract from my ballet-in-progress, which I have already performed separately as a cl/vn/pf trio; this will adapt readily as a fl/cl/hp bon-bon (it is simplicity itself) which will close the program nicely. The new program would thus be:
Irreplaceable Doodles (cl solo) — 6 minutes
stars & guitars (fl/hp) — 20 minutes
Tropes on Parasha’s Aria (trio) — 2 minutes
For a repeat performance of The Angel Who Bears a Flaming Sword , I have a scheme in view. Watch This Space .
Originally
from henningmusick ,
ReBlogged by newmusicrebloggers on Jun 26, 2009 at 08:10 PM
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On the Road Driving to the Museum yesterday, I got a close look at a bumper sticker on the rear of a car whose driver cut me off:
A lovely sentiment. I suppose the application of the sticker to the bumper wa s a simple gesture of admiration for Jimi Hendrix (the apparent source of the quotation) rather than an y endorsement of the conte n t of Hendrix ’ s remark.
E lse one is i nvited to understand that “ the power of love ” is completely compatible with cutting fellow motorists off because, what the hell, you ’ re in the far left lane, and you suddenly realize this is your exit.
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Review: Ornette Coleman/The Master Musicians of Jajouka at the Meltdown Festival, Royal Festival Hall, Sunday June 21st, 2009... The Master Musicians of Jajouka , whom I saw outside on the terrace a few days before, were inside tonight and delivered a fascinating and well-received show. Minimal skirling melodies that overlapped and shifted, surrounded by wild drumming. Out in the desert this must be an overwhelming experience – pretty good here, as well. The MMOJ are a visually striking crew – the green robes, white turbans (black for the leader), yellow shoes. Showmen as well, they know how to get the crowd moving. One of the drummers broke from the line at one point, did a weird dance out front and got the audience raggedly clapping along... great fun. The only annoyance – the usual crap, people wandering in late throughout, which is mightily distracting. Easy enough to stop: let no one in during a number. What is it with the South Bank? But onwards...Mapsadaisical made the same point in his review of an earlier gig). The drum balance seemed odd, as well... Ornette played a lot throughout, never coasting, as his seniority would have allowed, looping through some of his favorite tunes and I couple I didn't recognise, which recurred in places, like refracting mirrors that offered new visions of old material. Backed initially by Tony Falanga on acoustic bass and Al McDowell on electric bass, who both wove a stunning and intricate tapestry of lines throughout. Falanga roaming deep while McDowell in the main played high up, giving a guitar line almost. Denardo, always a heavy hitter, held it all together (despite the eccentric and muddy sound). They gave up sudden explosions of those twisty reconstructed boppy themes – including a couple of good-natured false starts - and some slowed down, haunting, lyrical moments – especially coming from Falanga's arco bass. Positioned at the leader's right shoulder, he seemed to be the conduit to the rest of the band. Ornette, switching between his alto, violin and trumpet, paced himself as you would expect but played more than I remember the last time I saw him, using favourite licks sure, then occasionally spinning a sudden twist out of nowhere, his sound still as powerful and intense as ever. He leads from the front while allowing his musicians the freedom to exercise their imaginations – to produce a unique sound world. Which is as drenched in the blues as it always was, the main bloodline of his contributions to the 'free jazz' revolution, yet has a generous inclusiveness which is an intrinsic part of his musical philosophy - for example, Malanga bringing Bach into the gig when he reprised the Prelude that Ornette had ragged on circa the 'Tone Dialling album where the classical line was played on electric guitar. (Actually, I think it worked better here).
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from wordsandmusic ,
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Bookmarks for the week: June 22nd through June 26th [del.icio.us]; Bookmarks for May 26th [del.icio.us] Bookmarks from June 15th through June 16th:[del.icio.us] Bookmarks for June 2nd through June 8th [del.icio.us]
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posted by admin
from paulbailey.us (beta) ,
ReBlogged by newmusicrebloggers on Jun 26, 2009 at 08:10 PM
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[no title]
Originally
from Fuck Classical Music ,
ReBlogged by newmusicrebloggers on Jun 26, 2009 at 06:41 PM
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D'Arc: woman on fire CD by Jay Cloidt and Amanda Moody now available D'Arc: woman on fire D’Arc features performances by ex-Kronos Quartet cellist Joan Jeanrenaud on six of the eleven songs. Also performing on the recording are cellists Danielle DeGruttola and Elaine Kreston, pianist Jon Herbst and guitarist Will Bernard.D’Arc depict a present-day intercession by Saint Joan of Arc into the life of a contemporary mother, whose daughter vanished while working abroad in a war-torn region. St. Joan intrudes into the modern world through bizarre visions revealed through the cold flame of a television set, challenging today’s Joanne to listen to the call of her own lifeD’Arc include a newly-written hymn setting of 14th-century lyrics, delicate acoustic duets and solo cello works, and intense electronic music. Cloidt weaves musique concrète elements into the music, along with electronic elements and acoustic instruments, to underscore the voice and cello parts. Amanda Moody’s vocal performance runs the gamut from medieval hymn singing to gospel wailing to full operatic bravura, and Cloidt has set her lyrics to an extremely wide range of vernacular styles and semi-abstract electronic textures. The music is intense and intelligent, yet emotional and accessible.Spectral Evidence Spectral Evidence was “…engaging, attractive, and extremely crafty.”Serial Murderess , directed by Melissa Weaver and composed by Clark Suprynowicz, won the 2001 Dean Goodman Award for Outstanding Achievement in Theater, and the SF Bay Guardian's Best of 2000 Award for great solo performance. Her original oratorio, Bitter Harvest composed by Kurt Rohde, premiered with the Berkeley Symphony Orchestra conducted by Kent Nagano. Georgia Rowe of the Contra Costa Times declared Bitter Harvest "Splendid boldly contemporary and undeniably moving." BackStage West said, “Moody’s virtuosity – as writer, singer and actor – is awesome.”Amazon and CD Baby .View Starkland's complete catalog.
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from Starkland ,
ReBlogged by newmusicrebloggers on Jun 26, 2009 at 06:39 PM
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Recording of Paris Premiere of String Quartet #5 Available
Here's the live recording of the Paris premiere of my String Quartet #5 by Quatuor de l'Orchestre 2021. I finally got permission to put it up (thanks to Nigel Keay for the great playing and organizing!). It's a very passionate live performance of high intensity.
String Quartet #5 - Live Premiere Performance in Paris by Quatuor de l'Orchestre 2021 String Quartet #5 - Score
String Quartet 5 Score
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from The Music of Jeff Harrington ,
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60x60 Dance @ the Winter Garden, NYC (11/14/08) [Pritsker/von Ussar] A CaSamppella
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The history behind Ricci v. DeStafano, the Supreme Court case that will decide who gets the good jobs in cities across America. (1) - By Nicole Allan and Emily Bazelon - Slate Magazine [del.icio.us]
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Just Released: "New World Ardor" a Post-Apocalypse Party Album http://www.williamhouston.com and here, for now.
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from Discussion Forum - NetNewMusic ,
ReBlogged by newmusicrebloggers on Jun 26, 2009 at 12:11 PM
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RIP, Michael
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from ANABlog ,
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EUR FILM REVIEW: DJ Spooky's Rebirth of a Nation - Eurweb.com EUR FILM REVIEW: DJ Spooky's Rebirth of a Nation Eurweb.com, CA Ironically, if this remix has a mild failing, it's in its subdued, ethereal soundtrack, which plays more like a Philip Glass modern classical score than the urban-oriented fare one might expect ala Puffy, Common, DMX or 50 Cent. ...
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Music enthusiasts to see exclusive event - Armidale Express
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Composer and artist DBR appointed visiting professor at ... - Media Newswire (press release)
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Gotta let that fool loose, deep inside your soul Thriller —it was the first album I considered worthy of spending my hard-earned (paper route) money on. (It beat out an LP of Martha Argerich playing the Chopin preludes by a few weeks.) If you're a pre-teen white kid, like I was in early 1983, and you walk into a record store (OK, CD store; OK, iTunes) and buy an album by a black artist and it doesn't seem at all weird in the least, you can thank Michael Jackson. And you should thank him. Profusely.Off the Wall and Thriller was a palpable shift to me—and even if Michael was lucky enough to simply be in the right place at the right time, he filled the role with a generously unnecessary brilliance and savvy. Maybe it was my classical acclimatization—respectful of Wagner, enamored of Richard Strauss—that made it easier for me to compartmentalize the personal scandal and the musical achievement. And the achievement—the glottal suspense of "Beat It," the aspirated frenzy of "Dont Stop 'til You Get Enough," the roiling, implacable funk of "Billie Jean," the impregnable position of "Thriller" as the greatest novelty single of all time—was, even as my taste in pop became more jaded and skeptical, persistently superb.Thriller , to the fait accompli integration of MTV, to the demonstration that, even in the hyper-capitalist (and subtly discriminatory) wonderland of the Reagan 80s, sheer audacious talent could refuse to be marginalized. A few years ago, I spotted a "Special Edition" CD of Thriller at some store or another, and bought it, mostly out of curiosity as to how well it had held up, whether it was as good as my awkward, cusp-of-puberty self thought it was. The answer? Oh, my, yes.
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Music: Orchestra, Curtis team up at the Mann - Philadelphia Daily News
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Copy that this post ). Whether with pen and ink on paper or by pointing and clicking with an engraving program, copying invites, indeed forces, one to attend to the music in an analytic and intimate way that, in my experience, casual listening to a recording cannot replace, and to hear imaginatively, interpreting both details and larger passages in the in-and-out-of-time unique to the written score. A major part of the copyist's work is planning the project, finding the most efficient way to move notes from the original to the copying, figuring out the most elegant layout of notes, measures, systems, pages, all of which is analytical work, tracing phrases, sections, processes, resemblances and differences, identifying local tactics and global strategies of both original and transcription, as well as the inevitable and incalaculable surprises. Even deciding where to place page turns is a matter that invites analytical and interpretive engagement!
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Betty Allen, 82, American Mezzo Who Became An Arts Administrator ... - Opera News
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Music enthusiasts to see exclusive event - Armidale Express
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The Soulvine: Kobe and Antonio on the bus | LA Wave Newspaper | The Soulvine [del.icio.us]
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June 25, 2009
NY Philharmonic/ Maazel, Avery Fisher Hall - Financial Times
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Ticklish Uptick Timing Issues An excellent point was raised at the conclusion of last night’s recital; and better thought must be taken for programming on Tuesday the 28th.Fact: Although in the past, I think I have programmed up to 40 minutes of music for a King’s Chapel recital, management currently seem less negotiable on duration, and expectations are for 30 minutes.Problem: The tentative program I had been thinking Angel op 94a : 12'Irreplaceable Doodles op 89 : 6'stars op 95 : 20' (or maybe a shade more?)Possible solution A: Drop the Doodles Objections: Still leaves us running a bit long; and the idea of programming Doodles Level of objections: Code RedPossible solution B: Drop the Angel Objection: Seems a pity not to let Peter have more use of the piece now that it’s in ‘fighting trim’.Mollifications: Lightens some of Peter’s burden for that day; currently no prospect of a recording of the event, anyway.Level of objection: Code YellowPossible solution C: A one-time abbreviation of stars for this occasion only Objections: Composer is very much not desirous of seeming to ‘sanction’ cuts; part of the piece’s impact, I think, is its breadth; I don't really ‘see’ cutting more than (say) the first six minutes-ish . . . if we begin with love awakens , we still have a 14-minute piece.Level of objections: Code Yellow(?)Angel Doodles (C) , we’ve still got something like 32 minutes of music . . . which perhaps , if we are brisk with sequencing, we can get away with.your thoughts?
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Getting Inside The Listen
The Listen's straightforward concept of thinking and writing about nine different pieces of music, what authors Christopher Jon Honett and Peter Gilbert are really engaging in here is a new type of criticism—and it's actually kind of subversive.
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An Chapter from The Listen : Music for 18 Musicians
The Listen by Peter Gilbert and Christopher Jon Honett on Steve Reich's Music for 18 Musicians
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Upticks (I) Recap The audience outnumbered the musicians four to one; so attendance must be reckoned a crowd. This was a nice ‘zone’: an audience large enough, that you feel that you are playing for the public — yet an audience intimate enough, that everyone feels welcome to come up and congratulate you afterwards.breathing in sympathy with you — and any musician is grateful for such an audience, great or small.Blue Shamrock carry on , and to keep the energy ratcheted up.1. to an audience.Lost Waters attentive performance of his work. At whose end, Mary Jane rose to a well-earned warmth of applause.Lost Waters stars & guitars Lost Waters The Angel Who Bears a Flaming Sword 2. Fragments... Radiant Maples tempo change, for instance) was more than made up for in spirit. And the slow closing section of Maples Blue Shamrock Shamrock Is this what you compose?!? But mom and her two traveling companions spoke to me afterwards with a warmth which went well beyond any obligatory en famille politeness. I think mom may not wait so long before attending another concert.1. Blue Shamrock how it ought to be played ].” Someday, I am going to say to my wife after a concert, “Once again , dear, I played Blue Shamrock next performance does not improve on it.2. stars & guitars The Angel... masseuse today.
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St. Matthew's Music Highlights Classical Innovators June 30 - Palisadian-Post St. Matthew's Music Highlights Classical Innovators June 30 Palisadian-Post, CA Members of The Chamber Orchestra at St. Matthew's will present a concert by some of the most important and innovative composers working in the classical music today, including Steve Reich , Arvo P'rt, Jake Heggie and Bruce Broughton, on Monday, June 30, ...
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Music is imaginary, says acclaimed composer Elliott Carter - Deutsche Welle Music is imaginary, says acclaimed composer Elliott Carter Deutsche Welle, Germany Composer Elliott Carter is internationally recognized as one of the leading American voices of the classical music tradition. One of the extraordinary features of Carter's career is his astonishing productivity and creative vitality as he embarks on ...
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60x60 Dance @ the Winter Garden, NYC (11/14/08) [Wittgraf/Ussar] Squeeze Play
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Radiohead loves Ondes Martenot - News24 Radiohead loves Ondes Martenot News24, South Africa The instrument dates back to 1928, the brainchild of Frenchman Maurice Martenot, a cello player and wartime radio transmissions expert determined to turn the screech of airwaves into music . Contemporary composers such as Messiaen, Pierre Boulez , ...
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Free Tonight: Ives and Gershwin Piano Music - Chicagoist Chicagoist Free Tonight: Ives and Gershwin Piano Music Chicagoist, IL Ives formed his iconic sound by combining avant-garde techniques, such as this polytonality, with his formal classical education, all of which was informed by his background in traditional American music . If you're open to conversion, ...
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Lecture series reveals different approaches to creating music and ... - Media Newswire (press release) Lecture series reveals different approaches to creating music and ... Media Newswire (press release), NY Content: By introducing examples of major music theatre works of pioneering artists such as Robert Wilson and Laurie Anderson, Kung will analyse the development of avant-garde music theatre, with his own practice and approach in bridging different ...
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A world of music from The Penguin Café - Galway Advertiser A world of music from The Penguin Café Galway Advertiser, Ireland From 1976 until Jeffes' passing in 1997, the band released eight albums of beautifully eccentric music which mixed English classical, pop, prog, world, and avant garde . Today the Penguin Café Orchestra lives again through Simon's son Arthur Jeffes and ...
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Odd music from a fungi - FFWD Odd music from a fungi FFWD, Canada Slapping, finger-tapping and strumming his way to success, the avant-garde bandleader also contributed material to the soundtrack of the horror flick Pig Hunt, the story of vicious wild boars that guard marijuana fields. Those two endeavours have led ...
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A Short Column About Music 6.25.09: The Velvet Underground - White ... - 411mania.com
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Open Reading with Eloise Last night, Vox Femina hosted a reading of my new work for women’s chorus, HEALY MADRIGALS, based upon the poetry of Eloise Klein Healy. Iris Levine, the director, welcomed the small but warm audience and explained what was about to happen. I got up and spoke about the commissioning process as well a bit about composing. Then Eloise got up and spoke about her work and her own creative process.
Then, the chorus ran through each number. Eloise read the poem. Vox “read” the piece (they had had only one run-through), and then I got up and commented on each piece, making changes in almost every number and throwing one out — much to the delight of the audience.
People seemed to love the experience–watching the collaborative process in action. I was happy that everyone responded to the pieces so well. As I said, Eloise’s poetry brought out a different side of my musical persona, which felt good. I was so happy to hear from the women of the chorus that they were thrilled that I was writing them a new piece. How fortunate I am!
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Meet Me This Friday
There isn't much to add to this update. Everyone's still doing great improvising, listening and so far collaborating. EXCEPT, this week we don't have a seed yet. A seed is merely a sound file of whatever you feel like recording, so long as it is bare enough to add to. If you have something to add, just post it in this thread.
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Adina Spire: Music of Universal Devotion, Protest, Ecstasy D ark brightness’ ... the music of a contemporary Romanian gypsy girl... Born in Romania in 1977, Adina Spire is a classical composer of sacred music for Catholic and Orthodox liturgies. An attempt to put any interpretation on her music has to make references to the mysterious Romanian old culture and the context of recent history... The context of Adina Spire’s compositions is the 1989 the revolution of Romania against the totalitarian government and the suffering of the people during the subsequent civil war—including the Adina’s own suffering as a little girl, suddenly orphaned and displaced to the orphanage associated with a monastery near Arad. Her music dwells on a complex of interrelated themes: grief, fear, solitude, vigil, memory, nostalgia, innocence, sensuality, intolerance, protest, violence—each piece approaching this view from a different angle, insistent upon perfecting a coded way of talking about something either unmentionable or impossible to express... This is ‘rebel’ music—the protest of the soul against soullessness, of the poor and defenseless against unfeeling poverty and aggression and intolerance.” A dina Spire’s music is brilliant—evocative, lyrical, and incisive. Intensely political. It is also ‘doctrinal’—expressing doctrines of the once-and-future displaced, disenfranchised, and disabused... each note now aspiring to live.M any of Adina’s compositions are calibrated by Romanian tradition and informed by Orthodox liturgy or explore notions of religious practice and the Divine. But her vision is delocalized from her native Romania and draws upon materials that are pan-European and span a period from Medieval times up to the present.T he very old ‘borrowed’ elements and the instantaneous ‘ambient’ elements mingle and give rise to a fantastical sort of ‘bricolage’ that calls into question the very concepts of time and civilization. Like a Jorge Luis Borges story, Adina’s compositions can make you wonder whether human history—any of it—is to be trusted. Beautiful.A dina Spire is a teacher at the conservatory (in Arad). She is also an accomplished conductor and cellist.T he example MP3 clip above is representative of her modus operandi—generating new expressions from materials that are simultaneously familiar and exotic, archaic and radically new: her compositions are, like Kontakion, invariably novel and surprising. The execution is passionate, with deeply-felt flourishes. Adina’s music suggests Renaissance or Baroque performance practices of elaborating from the written music, and it is hard to know where Adina’s score leaves off and the performers’ ‘improvvisaziones’ begin. A dina Spire’s ... harmonic and dynamic designs reflect a paradoxical vision of intense feeling behind a frozen and fearful facade. Thus, tempos are mostly so slow as to give the impression of motionlessness, an effect sustained, even when short note-values are in play, by the use of small and very simple progressions, tense pedal-points, and agonized suspensions.... In parallel to orthodox modulation, the composer cuts abruptly between keys or slowly dissolves one chord into another by accumulating their pitches into blurred clusters. Since the tonic at any given point in Adina Spire’s score is a disputed issue (often brusquely dictated by the orchestra, often completely absent), these arpeggio-clusters—which have their precedents in the cinematographic soundtrack genre of terror movies—also amount to significant polytonal ambiguities in themselves... At the level of general design, Adina Spire works repeatedly with extreme contrasts between moments of tonal delicacy and cataclysmic avalanches of atonal sound... Spire’s three-dimensional orchestration scores and interpretations are intrinsic to these gradual transitions, tone-colour in what amounts to a quasi-cinematographic conception of timbre as light and sound positioning as ‘viewpoint’.” I n the case of this example, ‘Kontakion’ (Greek: κοντάκιον) is a kind of hymn that has for many centuries been performed in the Eastern Orthodox Church. The Greek word is ‘kontax’ (κόνταξ), a ‘pole’—specifically the pole around which a sacred scroll text is coiled. The term describes the way in which the words on a scroll unfurl as the scroll is read in worship. The word ‘kontakion’ originally referred to a Byzantine poetic form, whose origins date back as far as the 6th century CE or probably earlier. Based in Syriac hymnographical traditions that underwent mutations in Greek-speaking Byzantium, it’s really a “sermon in verse accompanied by music”. The meter and music accentuate the rhetorical beauty of the speaker’s meditation.A Kontakion is fundamentally a ‘funerary’ form—usually comprised of 18 to 24 metrically identical stanzas called oikoi (“houses”), each preceded by a short prelude (in a different meter), called a koukoulion (“cowl”). If the ‘cowl’ is, say, in a duple meter, then the ‘house’ may be in triple meter. The first letters of each of the stanzas form an acrostic, which frequently includes the name of the poet... not unlike, say, J.S. Bach and his fascination with numerology and acrostics (e.g., incipits that spell out B-A-C-H). The last line of a Kontakion prelude introduces a refrain, which is repeated at the end of all the stanzas. The stanzas are not unlike Baroque chaconne or passacaglia or ‘folia’ forms, with their dozens of variations that obsess upon a theme until the point of ecstasy or emotional transcendence.T his Kontakion by Adina Spire has reverential yet aggressive aspects to it. It is contemplative, brooding—as is fitting for a ‘Hymn for the Dead’ or requiem. But it’s also punctuated with explosive electroacoustic effects. Listen carefully. Are some of these recorded segments played backwards, reversed tracks? Maybe so. What we have is a delirious mix of ambient-aleatoric material with Baroque variations. (I pull my copy of Robin Stowell’s book from the shelf, look at p. 140.)I n the midst of the ambient-aleatoric edifice that’s going up, we hear... the cello playing a version of ... ‘La Folia’? The ‘La Folia’ meter is either in 1 [4+2] or 3, depending on what era you're speaking of and depending on whether the ‘La Folia’ performance was a vernacular music of common people or was instead a co-opted, stately dance of the aristocracy. Its chord progression is the ubiquitous/eternal i-V-i-VII / III-VII-[i or VI]-V / i-V-i-VII / III-VII-[i or VI7]-IV[4-3sus]-i R encontre entre la tradition de la basse obstinée du 17e siècle et le jazz, sur fond d’improvisation et de plaisir pur?F olia’ is pronounced “la foh-LEE-ah,” conventionally thought to mean ‘crazy’ or ‘empty-headed’ or ‘revelrous’. But is this correct? Well, no, not really. It seems to have been uncritically repeated in the musicology literature, by non-Iberians who neither know Portuguese nor have any deep understanding of the politics of 16th-Century Iberians who likely were the originators of ‘La Folia’.I t’s a sort of hemipedalian waltz that carries the feeling of lament with a slow, percussion-marked processional feeling—not a jolly dance, really; more like a reckless PTSD dance of refugees and casualties from a war—like Adina. Yes, the ‘folia’ was a musical framework used during the Baroque period for songs, dances and sets of variations. But the early versions embody, I think, a valedictory spirit ... of the Portuguese who were busy fighting and eventually defeating the Moors? It is an aesthetic that acknowledges the real possibility of premature, sudden death—the unpredictability of troubled times. It is ‘mannerist’ and ‘historical materialist’ in outlook.I n other words, ‘La Folia’ bears the same aesthetic ‘marks’ as the epic and autumnal ‘Tarantella’—furious, ecstatic dancing in defiance of fate and death. It’s rollicking is not orgiastic but reckless in its psychological regressiveness. I could die tomorrow, as could you... as did he.I n 1611, Sebastiàn de Covarrubias (Tesoro de la lengua castellana) described the folia as a Portuguese dance, very noisy, performed with tambourines and other instruments by disguised street-porters carrying young men dressed in women’s clothing on their shoulder. He said nothing about moroseness... it is a celebratory requiem dance. Have a look at the books by Hauser and Maniates.T he musical design of a 16th or an early 17th-century folia consists of an upper melodic framework (although the precise melody varies) and a lower staff that yields a simple continuo accompaniment. The opening two beats of anacrusis are sometimes omitted, but in any case the first accent always falls on the V chord. The stroke pattern continually emphasizes 3/4 meter, but both the melody and the harmonic changes often oscillate between 3/2 and 6/4—as seems to be the case in Adina Spire’s ‘Kontakion’.T hen in the 1670s the ‘folia’ was co-opted by the aristocracy and was mutated into a slow and stately dance, akin to a sarabande. All second beats still were dotted... the prominent secondary ‘folia’-type accent. W hat is so special about this tune? Why has it been borrowed so extensively, by many western composers over the past 500 years? Does its appeal derive from its satisfying human beings’ love of rhythmic ‘balance’ and harmonic ‘parity’ among multiple parts? The fact that ‘folia’ form has a high degree of symmetry and equitable harmonic layering suggests that this might be so. Does ‘folia’ embody some hard-wired pattern that our brains have evolved to prefer? It even sounds familiar when you have never heard the piece before. Is its perennial popularity a consequence of a peculiarly wide latitude that the ‘folia’ chord progression affords for textural adaptation and variations? La Folia form provides lots of freedom because there are no fixed numbers of variations to complete nor has there to be any structure between the variations. Vamp away! Is ‘folia’ popularity driven by politics? Consider the social phenomenon that the ‘folia’ had its roots in popular ‘rebel’ culture and developed into a stately court dance but, more than this, a vehicle courtly flirtation. Consider, too, that in some cultures it was a funerary piece or requiem but in other cultures was primarily a fertility dance for the people. The ambiguities enable all sorts of interpretations, all sorts of transgressions. Is ‘folia’ popularity a Richard Dawkins-like ‘selfish gene’, popularity that begets more popularity and repetition/borrowing? A tune that we grow up with, and that each composer grows up with—strongly associated with culture and personal memories—and this is what invites yet more borrowing? ds to be aware of the transformations of the basic four-note subject. Not only does the subject repeat almost relentlessly, but it’s restated and transformed in successive variations, in sixteenth and eighth notes. These segments divide the music into discrete sentences/statements. This approach generates ‘micro-pieces’ played one after the other. Kaleidoscopic!L ike a chaconne or passacaglia or romanesca, the ‘folia’ form involves a short subject (usually four measures) that’s relentlessly repeated and varied... Symmetric thematic transformations of transposition, inversion, retrograde, and retrograde inversion. These are normally supplemented with diminution, augmentation, interpolation, fragmentation, octave displacements, and elision operations. The relentlessness of it is, I think, what lends the funereal aspect to what is otherwise (or can be) a pretty vigorous dance.W hat we have here amounts to a kind of ‘multiple-encryption’. From the elements of a supposedly Orthodox liturgy, Adina Spire’s incorporation of symbolic components of secular origin enable her to protest recent political events and cultural trends. By contrast, from the notation of a supposedly ‘secular’ music Bach and other Renaissance and Baroque composers who ‘borrowed’ ‘La Folia’ encrypted texts of the Latin liturgy, Bach's customary incorporation of symbolically numbers of biblical origin that were significant in Lutheran doctrine, and Bach's multiform signatures (B-A-C-H, etc.). Hidden chorale citations embedded in the developing variations.D id ‘La Folia’ arise out of the valedictory spirit in Portugal, during and after the conflicts with the Moors in 1500s? Is this music a product of the same milieu that prompted Camões to write the epic ‘Os Lusíadas’? I find tidbits of evidence, for and against. I am unsatisfied with the facile accounts given and repeated uncritically in the musicology literature, but I have not found (yet) anything definitive to support my conjecture of stylistic/aesthetic correspondences between ‘Os Lusíadas’ and ‘La Folia’.T his beautiful ambient, aleatoric ‘Kontakion’ is wholly compatible with the epic, ecstatic, improvisatory, protestful, funerary idiom of ‘La Folia’. Adina’s decision to incorporate it here is, I think, brilliant.T he compass of Adina Spire’s music cannot be adequately grasped in one reading. I have ‘read’ it and admire it and am excited about it to want to write about it here. I recognize that I have only so far scratched its surface, but I hope the ideas above may excite you to explore her work. Adina’s music is playful. It manages to be intensely political without being angry. Expect to read it with an attitude that questions the status quo—or even, say, the notion of ‘reverence.’ Discover ‘sacred’ music that respects reverential postures but asks you to critically reevaluate your reverential stance and the moral implication that reverence has for us as individuals and as societies. Very cool.T o prepare for [a friend’s funeral] service, I had been practicing the Chaconne every day — fussing over individual phrases, searching for better ways to string them together, and wondering about the very nature of the piece, at its core an old dance form that had been around for centuries. After the many times I had heard and played the Chaconne, I had hoped it would fall relatively easily into place by now, but it appeared to be taunting me. The more I worked, the more I saw; the more I saw, the further away it drifted from my grasp. Perhaps that is in the nature of every masterpiece. But more than that, the Chaconne seemed to exude shadows over its grandeur and artful design. Exactly what was hidden there I could not say, but I would lose myself for long stretches of time exploring the work’s repeating four-bar phrases, which rose and fell and marched solemnly forward in ever-changing patterns.” Adina Spire website Festival La Folia 2010 La Folia page at Wikipedia La Folia - A Musical Cathedral St. Romanos the Melodist. On the Life of Christ: Kontakia. Harper, 1995. Kontakion page at Wikipedia Marin Marais 'La Folia' Archangelo Corelli 'La Folia' Antonio Vivaldi 'La Folia' Tarantella page at Wikipedia Backman E. Religious Dances in the Christian Church and in Popular Medicine. Allen & Unwin, 1952. Pp. 244-50. Burkholder J, Giger A, Cox F, Bircher D. Musical Borrowing. Center for History of Music Theory & Literature. Univ Indiana. Chafe E. Tonal Allegory in the Vocal Music of J.S. Bach. Univ California, 1991. Donaldson L, Cavanagh J, Rankin J. The dancing plague: a public health conundrum. Public Health. 1997;111:201-4. Hauser A. The Social History of Art: Renaissance, Mannerism, Baroque. 3e. Routledge, 1999. Koerner B. A medieval dance craze. Was twisting a disease? U.S. News World Rep. 1999 Dec 20;127(24):61. Krack P. Relicts of dancing mania: the dancing procession of Echternach. Neurology. 1999;53:2169-72. Kriwaczek R. The Art of Funerary Violin. Overlook, 2006. Maniates M. Mannerism in Italian Music & Culture, 1530-1630. Univ North Carolina, 1979. Park R, Park M. Saint Vitus’ dance: Vital misconceptions by Sydenham and Bruegel. J Roy Soc Med 1990; 83:512-8. Smith T. Why did Bach write canons? Sojourn, 1996. Stowell R. Cambridge Companion to the Cello. Cambridge Univ, 1999. B ach used antithesis, conceit and paradox to ‘instruct and familiarize the reader with basic concepts of faith in highly condensed form’. Also called paradoxa, a typical epigram included juxtapositions of passages such as ‘God wills that all men should be saved’ with ‘Few are chosen’ (1 Timothy 2:4 and Matthew 22:14)... With enigmatical notations such as ‘mi contra fa, concordia discors’, ‘cross/crown’, and ‘beginning/ending’, Bach associates his canons with a peculiarly Lutheran dialectic in which antithesis (what Augustine called ‘antinomy’) is a symbol for the cross of Christ.”
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Bill Frisell: The Quiet Genius - All About Jazz Bill Frisell: The Quiet Genius All About Jazz, PA It's so easy for it to resonate or associate it with all the pop music or non-jazz stuff. LP: Karlheinz Stockhausen said that the artist has long been regarded as the individual who reflected the spirit of their time. That there have always been ...
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ReBlogged by newmusicrebloggers on Jun 25, 2009 at 11:12 AM
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4BR Interview - Simon Dobson - 4barsrest.com 4BR Interview - Simon Dobson 4barsrest.com, UK Other musicians who have definitely influenced me in perhaps a wider and deeper sense would be Bach, Stravinsky, Shostakovich, Bartok, Brian Eno, Steve Reich , Aphex Twin, Jamiroqui, Bob Marley, Bob Dylan, Torstein Aagaard-Nilsen and the Esbjorn ...
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ReBlogged by newmusicrebloggers on Jun 25, 2009 at 11:12 AM
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LOLA lineup bears watching - London Free Press LOLA lineup bears watching London Free Press, Canada A UWO Don Wright faculty-tied New Music Ensemble is expected to perform works by American composer Steve Reich . London's Aaron Simmons band A Horse and His Boy is also LOLA-bound. (A Horse and His is also part of a bill tomorrow at the Black Shire Pub ...
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ReBlogged by newmusicrebloggers on Jun 25, 2009 at 11:12 AM
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MUSIC: An uncertain future for Teatro dell'Opera - Wanted in Rome MUSIC : An uncertain future for Teatro dell'OperaWanted in Rome, Italy It's true that “Le grand macabre” by Ligeti , which was written in 1978 and made its first ever appearance in Rome in June, is not an easy opera. There was also the 17th-century “Iphigénie en Aulide” by Gluck. Last heard in Rome in 1954, ...
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ReBlogged by newmusicrebloggers on Jun 25, 2009 at 11:12 AM
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Resignations, ENO Model, Might Save City Opera: Norman Lebrecht - Bloomberg Resignations, ENO Model, Might Save City Opera: Norman Lebrecht Bloomberg Next season ENO will have 12 new productions, led by Gyorgy Ligeti's “Le Grand Macabre” and the first company staging of Mozart's “Idomeneo” in almost 50 years. ENO made a clean sweep of the Royal Philharmonic Society's opera awards and is closing the ...
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ReBlogged by newmusicrebloggers on Jun 25, 2009 at 08:12 AM
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From Andy Kaufman to Saul Bellow: David Williams' non-musical ... - Decider Austin From Andy Kaufman to Saul Bellow: David Williams' non-musical ... Decider Austin, TX I turned them onto Stockhausen and all this experimental avant-garde music , shortwave radios on different stations, John Zorn cut-up records… The thing I worked on with DJ Spooky was the remix of [Nick Cave's] “Red Right Hand” that was in a bunch of ...
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ReBlogged by newmusicrebloggers on Jun 25, 2009 at 08:12 AM
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Caramoor for $10 - Lower Hudson Journal news Caramoor for $10 Lower Hudson Journal news, NY 1 in E flat major, Ligeti String Quartet No. 1 (also known as the Métamorphoses nocturnes), and Dvorak's Piano Quintet in A major. A different kind of string quartet music continues July 12 with the Brentano String Quartet playing Monteverdi's Four ...
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ReBlogged by newmusicrebloggers on Jun 25, 2009 at 08:12 AM
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Thursday Links p://theomniscientmussel.com/wp-content/plugins/sociable/images/delicious.png" title="del.icio.us" alt="del.icio.us" class="sociable-hovers" />
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from The Omniscient Mussel on Classical Music & Culture ,
ReBlogged by newmusicrebloggers on Jun 25, 2009 at 08:12 AM
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Pearls According to the OM Dictionary, a pearl is song is one that Miss Mussel can listen to 20 times or more in a row without becoming the least bit irritating. By definition (OMD) a pearl is small (<5 mins), perfectly formed lovingly burnished by innumerable listens. It is a true beauty no matter what the genre.
Here are five that have been getting significant airtime at OM Headquarters these past weeks:
Nina Simone – My Baby Just Cares For Me ; Fauré – Cantique de Jean Racine (Choir Of St John’s College, Cambridge); Couperin – Barricades Misterieuses (Alexandre Tharaud); Louis Armstrong – Hello Dolly ; Bishop Allen - Butterfly Nets
Have you got a few pearls to nominate? Let us know what we’re missing out on in the comments, or better yet, embed a video so we can all enjoy listening.
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from The Omniscient Mussel on Classical Music & Culture ,
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Sketch for Western Bog Laurel Subscribe here:
This is a work in progress...
As with all overtone series, a cluster of notes above a certain pitch will always generate a difference tone. But even though the scale designed to favor the root at C, the difference tone will always be F. I will have to take that into consideration when I add low notes. They will have to resolve that F to C, and choose notes carefully to minimize the difference tone prominence.
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from Podcast Bumper Music ,
ReBlogged by newmusicrebloggers on Jun 25, 2009 at 08:11 AM
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Bon Iver/Colonies of Bees Side Project: Volcano Choir - JamBase Bon Iver/Colonies of Bees Side Project: Volcano Choir JamBase, CA With influences ranging from David Sylvian and Steve Reich to Mahalia Jackson and Tom Waits, it might be more accurate to say the group's influence is music itself. You can hear it in the care and real love generously applied to each moment of Unmap. ...
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from lutoslawski OR xenakis OR boulez OR Dutilleux OR ligeti OR "elliott carter" OR stockhausen OR "steve reich" OR "tristan murail" AND music - Google News ,
ReBlogged by newmusicrebloggers on Jun 25, 2009 at 05:12 AM
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Charles Hamm, "Canto" CANTO Charles Hamm (1963) for soprano, speaker & chamber ensemble. Helen Hamm, soprano; Elizabeth Hiller, speaker, The Contemporary Chamber Players of the University of Illinois; Jack McKenzie, conductor....6:23CANTO For the seven lakes, and by no man these verses:
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from ANABlog ,
ReBlogged by newmusicrebloggers on Jun 25, 2009 at 03:19 AM
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Für kommende Zeiten Last night [conductor Frederik Prausnitz] brought his ensemble to Philharmonic Hall in a 20th-century program, ending with a work by Karlheinz Stockhausen that sent a fair share of the audience scurrying out of the auditorium.—R.E., "Prausnitz Returns," The New York Times , March 15, 1965
ALBANY — New York did not have one State Senate on Tuesday. It had two.—Danny Hakim, "Come to Order! Not a Chance, if It’s Albany," The New York Times , June 24, 2009
Sen. Winner unwittingly knows from whence he speaks: Prausnitz's effort with the New England Conservatory Symphony Orchestra remains, to this day, the one and only New York performance of Gruppen .
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from Soho the Dog ,
ReBlogged by newmusicrebloggers on Jun 25, 2009 at 02:11 AM
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Bon Iver joins forces for Volcano Choir - HitFix Bon Iver joins forces for Volcano Choir HitFix, CA "With influences ranging from David Sylvian and Steve Reich to Mahalia Jackson and Tom Waits, it might be more accurate to say the group's influence is music itself." Whatever. We just can't wait to actually hear the collaboration. ...
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ReBlogged by newmusicrebloggers on Jun 25, 2009 at 01:30 AM
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Good club DJs come in threes - Metro Good club DJs come in threes Metro, UK Together with Henrik Schwarz and Âme, he was responsible for this year's excellent The Grandfather Paradox, a mix exploring the roots of minimal music ranging from modern classical composer Steve Reich to Detroit techno figurehead Robert Hood. ...
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ReBlogged by newmusicrebloggers on Jun 25, 2009 at 01:30 AM
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RSAMD Symphony Orchestra - The Herald RSAMD Symphony Orchestra The Herald, UK With Garry Walker as conductor, and the finely-detailed complexities of Lutoslawski's Mi-parti as prelude, things began as they were clearly intended to continue. The ferocity of Bartok's Miraculous Mandarin suite came next, which left Mendelssohn's ...
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ReBlogged by newmusicrebloggers on Jun 25, 2009 at 01:30 AM
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June 24, 2009
Nonesuch Records Focus of FLYP's Special Music Issue: "No Such Label" - Nonesuch Records Nonesuch Records Focus of FLYP's Special Music Issue: "No Such Label" Nonesuch Records, NY In "Shock of the New," it's Hurwitz's early signings of new-music composers like Steve Reich , John Adams, and Philip Glass, and the pioneering ensemble Kronos Quartet that speak loudly of the label's dedication to work of these singular artists and the ...
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ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:12 PM
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Sheikha Mozah inducted into prestigious French academy - Gulf Times Sheikha Mozah inducted into prestigious French academy Gulf Times, Qatar Ligeti not only had a continuous interest in music but also in literature, art, architecture, sciences, mathematics and especially geometry which enabled him to be exposed to human civilisations. He reminds us of the creative renaissance pioneers who ...
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ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:12 PM
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A Live Supplement to Fans' CD Collections - New York Times
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ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:12 PM
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Bon Iver Readies Debut Collaboration as Volcano Choir - Exclaim! Bon Iver Readies Debut Collaboration as Volcano Choir Exclaim!, Canada ... radiating an inherent dynamism found only in the voluntary bondage of intimacy. With influences ranging from David Sylvian and Steve Reich to Mahalia Jackson and Tom Waits, it might be more accurate to say the group's influence is music itself. ...
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from lutoslawski OR xenakis OR boulez OR Dutilleux OR ligeti OR "elliott carter" OR stockhausen OR "steve reich" OR "tristan murail" AND music - Google News ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:12 PM
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L.A's mayor getting schooled - Los Angeles Times [del.icio.us]
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from paulbailey.us (beta) ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:10 PM
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Morton Feldman, "Piece" (1950)
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from Renewable Music ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:10 PM
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Introducing Volcano Choir - Altsounds.com Introducing Volcano Choir Altsounds.com, UK With influences ranging from David Sylvian and Steve Reich to Mahalia Jackson and Tom Waits, it might be more accurate to say the group's influence is music itself. You can hear it in the care and real love generously applied to each moment of Unmap. ...
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ReBlogged by newmusicrebloggers on Jun 24, 2009 at 08:12 PM
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Hiatus playlist
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from Alex Ross: The Rest Is Noise ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 08:12 PM
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Accepting the Keys to the (Technological) Castle
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from NewMusicBox ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 08:12 PM
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Too Much Music?
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from NewMusicBox ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 08:12 PM
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Penultimate Rehearsal Last night, I had arranged to meet Bill Goodwin at First Church principally to sort out details (and blow Blue Shamrock for maybe an hour) Peter Bloom had offered (more than once) to play through The Angel Who Bears a Flaming Sword for me ahead of the recital; so I rang him yesterday morning to see if he could pop by.
It was the first I’ve played in that space in some few years, and its beauty is both architectural (in a chaste, New England way) and sonic.
It was something of a change in plan I had pulled on our worthy Bill, by having Peter appear . . . and Bill was ready to move some plywood, when, seeing that Peter had already assembled his alto flute, he said (in a friendly and gracious way), “You do your thing first, before we do the physical tasks.” Peter said (and I thought it sounded a bit like a question, “It’s twelve minutes.” “Yes,” I replied. “I timed it,” he enlarged. “So that is more or less what you were expecting?” (Aye, exactly what I was expecting.) I sat about six rows away from Peter (and Bill sat maybe ten rows behind me), and I just relaxed and enjoyed the experience of The Angel Who Bears a Flaming Sword inhabiting that great space.
Now, Bill had been quite sufficiently friendly when I had first arrived at the church yesterday, everything gas & gaiters, both of us pleased to be working together again after the long hiatus. As a result of Peter’s playing my piece last night, though, the warmth in Bill’s manner notched up — I might even say, it upticked bullishly . Necessarily, he gets caught up in the mundane week-to-week happenings at the church . . . And then to hear a performer of Peter’s calibre play this wild, new piece, and to hear that in the space where he (Bill) works all the time — I think it ‘opened his ears again’. Knowing Bill all these years, I am sure that part of it was gratitude for the reminder that it is these ‘flashes of culture’ that really count, that it clearly inhabits a higher realm than the sometimes tedious goings-on in the workplace (even when that workplace is a church), and that it is those flashes which perhaps ‘redeem’ the tedium.
Peter wanted critique from me, but I was simply pleased with it all. “Any demands?” he asked. “All my demands are there on the page, and you are complying with them all nicely.” His wife Becky listened to him run the piece earlier yesterday, and made very flute-specific comments — “even though she’s not a flute-player,” qualified Peter. “And that is a talent, too,” says I.
From rehearsal as a quartet in Mary Jane’s home in Cambridge, we had a specific grouping of the four of us in mind for tonight’s concert. I had forgotten, though, how strangely cramped the space in the church is, in the spot where (acoustically) we shall want to be situated. Between the front-most pew-wall, and a raised daïs for the communion table, the space is a bit too narrow to accommodate our configuration ‘perfectly’; but with piano not quite square to the daïs, there is room for the harp in the crook (important to have eye contact between Paul and Mary Jane in Radiant Maples ) and I should still be able to fit myself between the harp and the pew wall. Bill and I moved the piano, and then laid two sheets of plywood down on the floor to cover the bands of carpeting. We shall find out this afternoon if we need to make any adjustment, but it feels reasonable; and there is open space in the center, to the pianist’s back, for the solo wind pieces.
All that done, I put the clarinet together and practiced Blue Shamrock . I don’t feel that I have it all quite ‘locked down’ (so, yes, I ought to have started practicing a week earlier, as I had originally planned ). Yet, it all felt reasonably comfortable. I had been playing it at home, seated (because the stand I have at home doesn’t rise high enough to play from, standing), and just two sheets at a time (as I have only the one stand . . . and, for that matter, only the practical space for the one stand). At the church, standing, and with the music splayed out over three stands, it all feels much more comfortable. So I practiced the ‘trouble spots’ — which are two pages whole at a stretch — several times. Then, I borrowed Bill’s nifty electronic metronome (better in many respects than the wobbly plectrum number I have). (“I'm not sure I really want to do this,” I said to Bill, of the metronome.) It would require significant effort, still, to get a grip on the ‘ideal’ metronome markings imprinted in the score; pity I shan’t be able to, for this recording. But the bright side is, that I even think it possible. I am bringing the piece up into the soberer “range” of tempo which I want to incorporate into future Lux Nova imprints of the piece. The ‘woodshedding’ done, I then ran the piece twice; tolerably, though I still hope to better it for tonight. Strangely, I may be less tense about it, playing it at the start of the recital, than striving to rehearse it.
In all events, after I was done with the final run-through, Bill casually remarked, “Tape was running.”
Originally
from henningmusick ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 05:10 PM
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Urban Planner: June 24, 2009 - Torontoist Urban Planner: June 24, 2009 Torontoist, Canada MUSIC : The Soundstreams Salon 21 season wraps up tonight with the Minimal Music Patio Party. Join U of T Professor of Percussion and member of the percussion ensemble Nexus and Steve Reich and Musicians, Russell Hartenberger, for an evening of ...
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(CUL) MUSIC FESTIVAL FEATURES TURKISH PERFORMERS IN ISTANBUL - Turk.Net (CUL) MUSIC FESTIVAL FEATURES TURKISH PERFORMERS IN ISTANBUL Turk.Net, Turkey In its 35 years the International Istanbul Music Festival hosted honorable conductors such as Zubin Mehta, Sir John Elliot Gardiner, Riccardo Muti, Ton Koopman, William Christie, Howard Griffiths, Valery Gergiev, Christopher Hogwood, Pierre Boulez , ...
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ReBlogged by newmusicrebloggers on Jun 24, 2009 at 02:11 PM
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60x60 Dance @ the Winter Garden, NYC (11/14/08) [Henderson/Bittar] I.V. Drip
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ReBlogged by newmusicrebloggers on Jun 24, 2009 at 02:10 PM
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Groton Town Talk: Church's movie night bumped until next week - Ithaca Journal Groton Town Talk: Church's movie night bumped until next week Ithaca Journal, NY This year, the concert will take place on Friday, July 3, beginning around 6 pm with music by the Doin' Time Band, which plays Top 40 country and classic rock 'n' roll. At this event, fireworks are scheduled to begin at dusk. ...
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ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:42 AM
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Summer begins For academics, summertime is a time of recharging: reading, doing our research, catching up on projects that we didn’t have time to do during the academic year, and traveling. I note that my blogging pattern is about once every five days of late. My year has been so busy I just haven’t had the time to write every day. For my faithful readers, know that I plan to blog for the rest of my life and when I step down as Chair of our department, I know that I will be more regular.
For my summer composition work, I am just about done with my settings of Eloise Klein Healy, and will have a public rehearsal/reading of it next week with the poet in attendance, and Vox Femina singing it under Iris Levine’s able baton. My collaborator in Homer in Cyberspace, Mel Shapiro, has a short film for me to provide music for. I have another movement of a piano piece to finish. And I hope to get back to the interrupted “Mozart and the Grey Steward” a short opera with words by Thornton WIlder.
I answered one of those alarming letters warning that my airline points were going to disappear, so I had better buy magazines. I did, and now have two huge piles of unread magazines I will try to make my way through. I also have a pile of books that I plan to start finishing.
I hope to block off a few weeks to try to finish my book on Rufus Wainwright. I will be interested to hear his new opera, which should have received its premiere by now.
A trip to London, Paris and southern France later in the summer will be our big vacation this summer. I plan to visit my parents at least once in Phoenix; two or three sabbaticals in Palm Springs; several trips to the Bay area; and a possible quick trip to Kauai.
The UC system is facing huge cuts. It appears we will all be taking 8% cuts to our salary for a year. The Herb Alpert School of Music is completely revamping its undergraduate curriculum, so I will be having meetings this summer and fall to work on that new reality.
I am still loving my Palm Pre, and am so relieved to be rid of the iPhone. I have colleagues who live for the iPhone apps, so they will likely never switch. I realized that I don’t really need to convert anyone to the Palm. I’m still thrilled that Apple is becoming so ubiquitous.
I hope to be more social this summer and establish a more regular exercise program to keep this body in good shape.
And finally, just the thought of doing NOTHING sounds terrific to me.
Sigh…
Originally
posted by Roger Bourland
from rogerbourland.com ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:41 AM
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'left of center' performers - San Francisco Chronicle 'left of center' performers San Francisco Chronicle, USA The late avant-garde saxophonist Albert Ayler set one of his poems to music , and singer Cassandra Wilson recorded the tune he wrote with saxophonist David Murray, "Sacred Ground." At Yoshi's, Reed will serve up poems inspired by Billy Strayhorn's music ...
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from "contemporary classical" | "avant garde" music - Google News ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:41 AM
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2010 Opera Vista Competition www.operavista.org .http://www.sequenza21.com/
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from Discussion Forum - NetNewMusic ,
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Net New Music Concert?
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from Discussion Forum - NetNewMusic ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:39 AM
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Enough Rope: A 10-Part Song Cycle On The Poems Of Dorothy Parker Symptom Recital Threnody Song of Perfect Propriety The Satin Dress Song of One of The Girls Ballade of a Great Weariness For An Unknown Lady Resume Ballade of Unfortunate Mammals Afternoon
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from Discussion Forum - NetNewMusic ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:39 AM
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IU Jacobs School of Music students win prestigious fellowships - Indiana University IU Jacobs School of Music students win prestigious fellowships Indiana University, IN Vest will be researching interactions between scholars, critics, composers and state representatives in Poland, investigating the ways in which these interactions shaped the character and significance of Polish avant-garde music culture. ...
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from "contemporary classical" | "avant garde" music - Google News ,
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Milford Graves: Time Piece - All About Jazz Milford Graves: Time Piece All About Jazz, PA We wanted to do that avant garde stuff too' and I thought, My gracious, this guy knows who I am." The fact that such a venerable figure in the music was watching, listening and acknowledging his contribution proved a rite of passage for him. ...
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from "contemporary classical" | "avant garde" music - Google News ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:39 AM
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Free music alert: "Downtown Sound: New Music Mondays" - Examiner.com Examiner.com Free music alert: "Downtown Sound: New Music Mondays" Examiner.com The Sea and Cake utilize electronic influences and avant-garde technology while maintaining their signature post-jazz combo style. The Sea and Cake is Sam Prekop (vocals, guitar), Archer Prewitt (guitar, piano, vocals), John McEntire (percussion, ...
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from "contemporary classical" | "avant garde" music - Google News ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:38 AM
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Loop 2.4.3. - Zodiac Dust - Music Starts From Silence /Analog Arts - Audiophile Audition
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from "contemporary classical" | "avant garde" music - Google News ,
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'Genius Grant' recipient violinist Leila Josefowicz performs BMC ... - Bennington Banner 'Genius Grant' recipient violinist Leila Josefowicz performs BMC ... Bennington Banner, VT Through her performances, recordings, and recital programs, she introduces traditional, classical music audiences to noteworthy new works, illustrating the excitement and beauty that emanates from the juxtaposition of the avant-garde and eclectic with ...
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from "contemporary classical" | "avant garde" music - Google News ,
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“It blows your hair back” - Mountain Xpress “It blows your hair back” Mountain Xpress, NC “It's college students, people who love avant-garde music , connoisseurs and people who love experimental music ,” he says of the audience. Even “people who don't like jazz or feel they don't know jazz. I don't think it's true that you need special ...
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from "contemporary classical" | "avant garde" music - Google News ,
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Yoko Ono Plastic Ono Band To Release "Between My Head And The Sky ... - Altsounds.com
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from "contemporary classical" | "avant garde" music - Google News ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:38 AM
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Charter's upheaval provides some progress for Locke High - Los Angeles Times [del.icio.us]
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posted by pbailey68
from paulbailey.us (beta) ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 11:10 AM
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Church's movie night bumped until next week - Ithaca Journal Church's movie night bumped until next week Ithaca Journal, NY Pastor Chris Xenakis says that he still wants to show the full schedule, so the movies will be "bumped" and played one week later than originally scheduled. The featured movies in the month of July are as follows: July 1 will be "Bucket List," which is ...
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from lutoslawski OR xenakis OR boulez OR Dutilleux OR ligeti OR "elliott carter" OR stockhausen OR "steve reich" OR "tristan murail" AND music - Google News ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 08:12 AM
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Elbphilharmonie rising
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from Alex Ross: The Rest Is Noise ,
ReBlogged by newmusicrebloggers on Jun 24, 2009 at 08:12 AM
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Updated Starkland Composers + Recordings (A-K) Charles Amirkhanian Phillip Bimstein (Garland Hirschi’s Cows) Phillip Bimstein (Larkin Gifford’s Harmonica) Jay Cloidt Tod Dockstader (Quatermass) Tod Dockstader (Apocalypse) Paul Dolden Paul Dresher William Duckworth Robert Een Fred Frith Ellen Fullman Lars Hollmer Joseph Kasinskas Aaron Jay Kernis Jerome Kitzke Roger Kleier Phil Kline Guy Klucevsek (Transylvanian Softwear) Guy Klucevsek (Full Range Accordion)
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from Starkland ,
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Updated Starkland Composers + Recordings (L-Z) Lukas Ligeti Joseph Lukasik Ingram Marshall Merzbow Meredith Monk Bruce Odland Pauline Oliveros Maggi Payne Somei Satoh Carl Stone Lois V Vierk Pamela Z John Zorn
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from Starkland ,
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Phil Kline discusses "The Wailing Wall" from his Around the World in a Daze surround DVD Around the World in a Daze surround DVD:
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Thanks to All the Aardvarks On aardvarkjazz.com.
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from henningmusick ,
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Music in the Great Hall announces 2009-10 season and new artistic ... - Baltimore Sun
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Elliott Carter/Pierre-Laurent Aimard, Aldeburgh Festival, Aldeburgh - Independent
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Irish Museum of Modern Art to Celebrate Work of the Distinguished ... - Art Daily
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What Six Blackbirds Hatched - Wall Street Journal What Six Blackbirds Hatched Wall Street Journal Steve Reich's "Music for 18 Musicians," the sole work on the Sunday-morning program, was notable for two things: It marked the first time during the weekend ... and more »
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June 23, 2009
A juke box hero, got stars in his eyes Beethoven: The Man Who Freed Music The infant [this is Ludwig], who was to be worshipped as "the saviour of music" by wise men yet unborn, first made himself heard in a room assuredly more lowly and probably more picturesque than the manger of Bethlehem. A man of average height must stoop under the beams of the little mansard chamber in No. 20 Bonngasse. On the wall outside an old crane still hangs, and a splendid vine with a stem now thick as a man's leg. In the garden there is a portentous pendulum pump four yards tall. And so on, for nearly 600 pages. And yes, he maintains that style for pretty much the whole way. Every time I pick it up, I'm reminded of Umberto Eco's deconstruction of James Bond novels:The minute descriptions constitute, not encyclopaedic information, but literary evocation. Indubitably, if an underwater swimmer swims towards his death and I glimpse above him a milky and calm sea and vague shapes of phosphorescent fish which skim by him, his act is inscribed within the framework of an ambiguous and eternal indifferent Nature which evokes a kind of profound and moral conflict. Usually Journalism, when a diver is devoured by a shark, says that, and it is enough. If someone embellishes this death with three pages of description of coral, is not that Literature? As scholarship, Schauffler's biography has been surpassed many times over (and keep in mind that this is the same author who produced the juicy but unreliable The Unknown Brahms in excelsis it's hard to beat. No wonder he keeps coming back.
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Steve Reich's 'Double Sextet' brought to vibrant life at Le ... - The Star-Ledger - NJ.com Steve Reich's 'Double Sextet' brought to vibrant life at Le ... The Star-Ledger - NJ.com, NJ by Ronni Reich/The Star-Ledger When Steve Reich won the Pulitzer Prize for Music in April, many called the award long overdue. Given his revolutionary body of work, it's hard to argue. But when the new music group Signal performed the winning ...
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Quickly, a Celebration of Steve Reich's Pulitzer - New York Times Quickly, a Celebration of Steve Reich's Pulitzer New York Times, United States Instead of locking down its concert calendar years in advance, Ronen Givony, who oversees the club's classical music offerings, leaves himself space to respond to events. So when Steve Reich won a Pulitzer Prize for his Double Sextet in April, ...
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In C and Me: listen [del.icio.us]
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Meet the leaders of a brave new musical world - The Herald Meet the leaders of a brave new musical world The Herald, UK He has been a driving force in the establishment of the RSAMD Music Lab, which has produced visionary work with the toughest music of Stockhausen , Jonathan Harvey and others. And it was Williams who had the job of getting John de Simone's colossal ...
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Van Der Graf Generator brings its prog-rock sounds to Beachland ... - The Plain Dealer - cleveland.com Van Der Graf Generator brings its prog-rock sounds to Beachland ... The Plain Dealer - cleveland.com, OH ... and soul -- all that aggressive music -- with modern classical music ." In other words, instead of majestic pomposity, VDGG bridged the gritty underpinnings of rock with 20th century experimental composers such as Stravinsky, Stockhausen and Ligeti . ...
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Shingle Out for a near-drizzly walk around Faneuil Hall this afternoon , I found myself approaching the cadet office of the famed bar:
So, I stepped in, tapped a somewhat-surprised visitor to Boston on the sh oulder, and discreetly asked, “ Now , in fact : does anyone here know your name? ”
We shared a laugh. ( I didn ’ t tell him my name. )
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from henningmusick ,
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Landmarks (41) No. 37b (2003/2006). Never mind the neutral title — this is a work of symphonic dimensions and classical formal proportions. The composer — as far as I'm concerned the most technically gifted composer of our generation — is an exuberant orchestrator, inviting the orchestra here to do everything that an orchestra can do well, and the performances I've heard have uniformly showed the orchestras honoring the challenge with equal exuberance. He has made that rare thing: new music that orchestral musicians love to play. The writing for the brass and string harmonics is spectacular, with some passages for the trumpets in particular touching my heart with a characteristic drag that resembled something in-between New Orleans funeral marches and mariachi playing. (In this score, Ayres has also raised the process of muting a tuba to a cooperative musical skill of the first art. ) No. 37b is a more than a bit of a madcap adventure, comic in genre, but with the entire range of comic expression in use, from droll to intense and from gentle to slapstick. A comic symphony is naturally more classical than romantic, and the rapid cuts and transitions never look backward, but are sometimes detoured by cul de sacs and hairpin curves, seizing that same cinematic impulse that was captured in the some of the best works of early 20th century neo-classicism. Why isn't real movie music ever this good?
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from Renewable Music ,
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Composers at the wheel - Examiner.com Composers at the wheel Examiner.com Whether Igor Stravinsky was the best conductor -- or even a reasonably good one -- for his own music remains a controversial issue. Pierre Boulez , a superbly skilled conductor, downright eviscerated Stravinsky's podium technique. ...
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Charlie Haden's Liberation Music Orchestra - Royal Festival Hall ... - Jazzwise magazine Charlie Haden's Liberation Music Orchestra - Royal Festival Hall ... Jazzwise magazine, UK A Ligeti transcription worked well and the closing tune, 'Giant' by bass player Reid Anderson was easily the highlight, underpinned by its composer's insistent yet simple bass line. It even prompted me to search out the group¹s latest release 'Prog', ...
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Carter, at Aldeburgh Festival - Telegraph.co.uk Carter, at Aldeburgh Festival Telegraph.co.uk, United Kingdom Elliott Carter , now 100.5 years old and still composing, can claim both. That's why he was able to turn up in bright red T-shirt and matching socks to a late-morning public chat with festival director Pierre-Laurent Aimard, and be just a little bit ...
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60x60 Dance @ the Winter Garden, NYC (11/14/08) [Boone/Padham] Figuratively Speaking
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from 60x60 ,
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Sunday in the City... Tate Modern – saw the Futurism show and the Per Kirkeby – too much to absorb in one go, really, so another visit asap. The Futurism exhibition is amazing, the Kirkeby... mmm, not sure, his early stuff looks a bit scrappy but some of the later enormous canvases have a certain power. Reserved judgement – too quick a shunt round to make up my mind. Then off to the Festival Hall down the river walk – where I came across the guys in the photo. Another great band of buskers, the East Europeans showing the locals how to do it. The trumpet gave the music a flavour of Mexican, oddly – great surging stuff, perfect for a sunny afternoon.Leafcutter John and his combo setting up in the Clore Ballroom so grabbed a foul over-priced lager and found a seat. Leafcutter (was he a gardener in another existence? Must go google...) was doing his balloon routine at first but the set progressed into some interesting areas and was nicely abrasive, given the odd circumstances of its positioning, people wandering about etc. But quite a good crowd sat listening. A good - and uncompromising - no pub bands - warm up for the main show... review to follow...Mapsadaisical has a review of the earlier Coleman show on the 19th June... check out the other write-ups for Meltdown on the same site...
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from wordsandmusic ,
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Virgil T at Norfolk
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from Sequenza21 ,
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Dynamic duo collaborate on a musical - Philadelphia Inquirer Dynamic duo collaborate on a musical Philadelphia Inquirer, PA Spring comes as much from folk music as it does 20th-century classical and minimalists like Steve Reich - music I'm closer to." While the music had to be stylistically contemporary and relevant to Sheik, who didn't want to write differently to suit ...
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A premiere for Choral Arts Society - Baltimore Sun A premiere for Choral Arts Society Baltimore Sun, United States The baroque ensemble Harmonious Blacksmith will open the series Sept. 13. Pianist Clipper Erickson will focus on American music in a recital Nov. 15. Cellist Hans Kristian Goldstein will play works by Bach, Brahms. Ligeti and others Jan. 17. ...
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Pit Happens - hotpress.com (subscription) Pit Happens hotpress.com (subscription), Ireland There was a long lull there which yielded predictable and catchy pop music but it didn't yield anything very interesting or lush or beautiful or complex or smart. Steve Reich [minimalist, often electronic, New York-based composer] is also a huge, ...
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Iditarod follows a varied course - Boston Globe Iditarod follows a varied course Boston Globe, United States Karlheinz Stockhausen's “Refrain'' uses the decay of vibraphone, celesta, and piano (John Andress, Christopher Lim, and Stephen Olsen) to chart loose, ringing constellations. Lukas Foss's “Ni bruit ni vitesse'' explores the far reaches of two pianos ...
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“... more to emancipation than dissonance.” Steve Hicken at listen In C
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Terminus Ante Quem Or How Jeans Appeared In The Concert Hall “The present Covent Garden management wisely do not insist upon evening dress and although the majority in the stalls and boxes still assume the claw-hammer coat and white tie of convention, the costumes are of a very varied character.
ay, for example, two gentlemen who occupied the stalls wore a wool jacket, knickerbockers and worsted stockings. In this strange attire, they, during the entr’actes, disported themselves in the corridors which, at the Jubilee State performance only a few months ago were resplendent with uniforms and gowns and coronets worn by members of some of the noblest families in Europe.
A well-known Wagnerian peer grumbled last season because a shooting jacket was forbidden in the stalls. During the present opera season he can adorn himself with any sort of costume he pleases.”
A small item from the Daily News * 11th October 1897 nestled between an update on the three front runners for the office of chemist at the London County Council and a report from Berlin about “self-immolating fanatics” in St Petersburg.
All this and more await in the British Library’s 19th century newspaper archives now available online. The full text of the article is behind a pay wall but a snippet to establish context is available so you can have a better idea of what awaits.
Memberships are £9.99 for 200 articles over 7 days or £6.99 for 100 articles over 3 days.
*The Daily News was founded in 1846, aiming to provide a Liberal rival to the morning Conservative newspapers, most notably The Times. The paper is famous for its founding editor, Charles Dickens, who remained in post for only twenty days, but continued to write occasional columns for the paper.
After a disastrous first twenty years(!), The News gradually established itself as one of the most popular daily papers. By the end of the century, it claimed to have ‘the largest circulation of any Liberal Paper in the world’, with circulation peaking at 93,000 copies in 1890 (Brown, Victorian news and newspapers, 1985, p.31).
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