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Jerry Bowles
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Contributing Editors:

Galen H. Brown
Evan Johnson
Ian Moss
Lanier Sammons
Deborah Kravetz
Eric C. Reda
Christian Hertzog
(San Diego)
Jerry Zinser
(Los Angeles)

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Latest Posts

Love and Cow Bells
Sorceress of the New Piano
Well, That Was Fun
Naxos Dreaming
Reich@70: Let the Celebrations Begin
The Bi-Coastal Jefferson Friedman
Violins Invade Indianapolis
John Cage (born Los Angeles, 5 September 1912; died New York, 12 August 1992).
The People United Will Never Be Divided
Attention Sequenza21 Shoppers


Record companies, artists and publicists are invited to submit CDs to be considered for review. Send to: Jerry Bowles, Editor, Sequenza 21, 340 W. 57th Street, 12B, New York, NY 10019

Friday, February 18, 2005
Joanne Cossa to Head AMC

Joanne Cossa has been hired as the American Music Center's executive director, effective March 14. She is the ninth executive director in the AMC's 65-year history. As executive vice president of Symphony Space between 1988 and 2003, she
presided over the transformation of the venue into a thriving multidisciplinary center for the performing arts. Her major accomplishments included a $13 million renovation and expansion of Symphony Space�s theatre complex and a $24 million capital campaign. She also played a key role in expanding Symphony Space�s multicultural offerings, bringing a broad range of collaborative programming to an even broader audience. Previously, Cossa spent 15 years with the Chamber Music Society of Lincoln Center, including seven years as its executive director, and most recently she served as General Director for Glimmerglass Opera.
New - Updated

We've got a new thread going over in the Composer's Forum on music and politics. Take a look and give some thoughts. Also, Lawrence Dillon has a premiere coming up in North Carolina and he's discussing it today. Elsewhere, there are rumors of a possible settlement of the strike in St. Louis.
Last Night in LA--Love That Kurt Weill

We went to see "Happy End" at a 99-seat theatre in Venice. No great voices, no great voice personalities. No band, just a single piano. The plot�s a mess; Bertolt Brecht's lyrics often seem disconnected from the characters, as if the titles were drawn from a grabbag and apportioned. (I have a record of Lenya singing the full score, so perhaps that biased my thinking that any song could be done by any character.)

But, oh, that Kurt Weill music. Three of the songs are cabaret staples --"Surabaya Johnny," "Bilbao Song," and "Sailor�s Tango" --- and almost everything in the score has interest, starting with the "Hosannah, Rockefeller" opening, and including the Salvation Army songs. Weill is known for the pungency of his orchestration, but hearing the music with only a single piano made me hear how much of the Weill sound comes from his chords and his modulations. I like Kurt Weill�s music.
What's New in New Music Today?

I bring good news, my friends. Classical music has been saved, again, by the timely arrival in record stores of the self-titled debut album of the 5 Browns, which entered the Billboard Magazine Music Charts # 1 Classical, #1 Heatseekers (top new artist) and #122 on the Pop Album Charts, a phenomenon for a "classical" music album. As everyone in the world except me, apparently, already knew, the 5 Browns--three sisters, two brothers--are the first basketball team of siblings to attend Juilliard at the same time. If you can't wait to hear ten sets of hands playing "Flight of the Bumblebee," you'll want to rush out and get a copy before breakfast. (I really must start watching Oprah)...More bad news on the My Ride's Here (Warren Zevon song, in case you're wondering) front; Swiss-born conductor Marcello Viotti, musical director of Venice�s La Fenice Theatre, died of a stroke at the age of 50...The chief conductor of the Melbourne Symphony Orchestra, Oleg Caetani, has been named as the new music director of the English National Opera (ENO), based in London...The folks at P22 Type Foundry are offering fonts based on the handwriting and sketches of John Cage. The set was produced in conjunction with The Museum of Contemporary Art in Los Angeles and the John Cage Trust and includes 52 graphic extras culled from the composer's notes and scores, as well as the "Cage Silence" font inspired by Cage's seminal work . The perfect gift for the music nut who has everthing...Here at S21, we're waiting for some new stuff to drift in later today...If you're desperate, you can read my tribute to Christo and Jeanne-Claude over at my Bush bashing blog. How about some suggestions for topics that will get our composers going over in the Composers Forum.
What's New Today?

Allan Kozinn has a good review of Briain Sacawa's recital in today's New York Times. It's not as well-done or as informative as David Salvage's review just below, but, hey, it's the Times...Lanier Sammons has a review of Philip Schroeder's Music for Piano...the industrious Lawrence Dillon earns some psychic income in St. Petersburg...we deperately need some commenters over at the Composers Forum.
One of Sequenza21's Own Does Music Proud

There are twenty cool people in New York. I just counted them. (Though Martin Bresnick left after intermission, so I�m not sure he counts.) Anyway, these twenty were the folks at the Brian Sacawa concert tonight at Miller Theater. The fifteen million other New Yorkers out there missed out on a good time. Get with the program, you guys!

And what a program it was: Lee Hyla, Chris Theofanidis, Alvin Lucier, Bresnick, Philip Glass, Charles Wuorinen, Derek Hurst, and Michael Gordon � all on one show. If there�s another contemporary music concert happening in New York this year with the stylistic breadth of Sacawa�s, someone send me an e-mail right now. Furthermore, Sacawa�s playing was consistently intense and energetic. On a program that called for multiphonics, key-popping, coordination with spatialized electronics, singing while playing, and all varieties of tonguing, Sacawa kept his poise and turned in a terrific performance.

Hyla�s frenetic, contrapuntal "Pre-Amnesia" opened the program. The piece was so interesting, I wish it had lasted longer. Instead, after less than two minutes, Sacawa segued from it attacca into Theofanidis�s "Netherland." "Netherland," for alto sax and piano, had beautiful moments (the C major felt nice after the Hyla), but it failed to make good on all its ideas. The second movement descended to bombast and flight-of-the-bumblebee passage-work. The sound of an amplified electric lamp opened (and dominated) Lucier�s "Spira Mirabilis," which was too avant for my garde. But things improved with Bresnick�s huge "Tent of Miracles." Written for baritone saxophone and three pre-recorded baritones, the piece rippled through every extended technique in the book, but managed to sustain a structure that moved compellingly through fragmented, Steve Reich-like sections, to moments of raw, roof-raising dissonance. Again juxtaposing extremes of dissonance and consonance, Sacawa closed the first half with Glass�s "Piece in the Shape of a Square" � a pleasing, groovy meditation that shows early Glass at its best.

The second half opened with Wuorinen�s fabulous "Divertimento" for alto saxophone and piano. In this piece, Wuorinen proves he can be mellow and good-natured while preserving the bristling complexity those of us who enjoy his music savor. Also, the spot-on ensemble between Sacawa and his terrific pianist Wenli Zhou was breathtaking. After that, I�d rather forget about Derek Hurst�s goofy "Bacchanalia Skiapodorum," which overplayed its humorous hand. The concert closed with Gordon�s "The Low Quartet," which sounded like a kid being forced to practice his hexatonic scales before he could go outside and play. I missed the depth of "Decasia," but perhaps Gordon just wasn�t there yet twenty years ago.

The thing is, however, that, even though a concert like this has its highs and lows, the memory is one big high. Yes, I didn�t like some of the pieces, but to hear such a variety of contemporary music all on one program, and to find a performer who gives both Glass and Wuorinen everything he�s got, is just sensational. I wish Brian many more such concerts, and a speedy return to New York.

P.S. For an amusing post-concert anecdote, click on "comments."
The Little Prince in Boston

Rachel Portman's opera based on Antoine de Saint-Exup�ry�s Little Prince had its East Coast premiere last night at Boston Lyric Opera. With a libretto by Nicholas Wright, and directed by Francesca Zambello in her Boston Lyric Opera debut, the new opera based on the famous children's classic has a lot of heavyweights behind it. Not only is it a co-production of Houston Grand, Boston Lyric and the Wang Center, but it is also backed by Milwaukee's Skylight Opera Theatre, Santa Fe Opera and Tulsa Opera. It's headed for a run by New York City Opera at Lincoln Center, and a video of the opera made for BBC television is due to be telecast on PBS' ``Great Performances'' series and released on DVD later this year. Lot of expectations for a composer who is best-known for film scores. Anybody see it last night?
My Ride's Here

Lovely piece in The Standing Room about the funeral of Micheline Steacy, a much-loved singer in the San Francisco Symphony Chorus, who lay down for a nap before evening rehearsal one day last week and didn't wake up. She was 53. A useful reminder of how tenuous our hold on this tiny glob of spinning dirt really is. And, a reminder, too, of the value of friends and the healing power of music.
What's New?

Brian Sacawa's New York Recital Debut "American Voices" is tonight at Miller Theater. Be there or be square. Elodie Lauten has a new report from downtown...and uptown. We'll have some more new stuff later in the day, so check back.
Last Night in LA--The Green Umbrella

The Los Angeles Philharmonic�s New Music Group has been one of the great successes of Walt Disney Concert Hall. Because the Dorothy Chandler Pavilion, with its 3,000-plus seats, was too large and cavernous for chamber-sized instrumentation and the number of potential customers, the Green Umbrella series, as it is called, has played for many years to a faithful, but small, set of listeners in one of two small downtown auditoriums, most recently in Zipper Auditorium of the Colburn School, just a block down the street from the Music Center. The 200 or so brave souls who regularly attended the concerts got to know each other pretty well.

The Green Umbrella series moved to WDCH when it opened last year and tickets were assigned a bargain price. While the regular Phil concerts were (and are) essentially sold out, getting tickets to a Green Umbrella concert was an inexpensive way to get a good seat to a concert. Attendance at Green Umbrella zoomed from the hardy 200 or so to 1,800 or so (by my eye), and I�m sure everyone was pleased. I certainly expected attendance to fall off in this second year. But it hasn�t. People continue to come to the new music concerts. There appeared to be at least 2,000 listeners in attendance at last night�s concert. In fact, there was a larger audience at last night�s new music concert than at last week�s chamber music concert (with music of Brahms and Faur�).

The premise of last night�s concert was to group the last three sonatas of Debussy (one of which, in 1917, was the last work he completed) with three works by contemporary composers. A good idea. As things evolved, one of the contemporary works was set aside, perhaps because of a decision to keep the concert length closer to the magic 2-hour rule. I wish that the decision had been to drop one of the Debussy works instead, since two sonatas were sufficient to give the points for comparison, but in any event the resulting concert was cohesive and quite enjoyable.

The Debussy sonata for flute, viola and harp (1916) was followed by a suite by Kaija Saariaho, �Je sens un deuxi�me coeur� (2004) for viola, cello and piano. The suite evolved from music she is writing for a new opera called "Adriana Mater" whichto be performed at the Bastille Opera in 2006. The title of the suite is from the libretto in which the pregnant woman feels the heart of the unborn child. Each of the five movements of the suite bears a title from the libretto, but Saariaho commented, in Paul Griffiths� excellent program notes, that the musical ideas evolved from those in the opera as the suite took shape. Of particular interest was that two of the movements involve feelings of hostility and anger, derived from physical violence--feelings not normally associated with Saariaho�s music.

After intermission the Debussy sonata for violin and piano (1917) was followed by Steven Stucky�s �Sonate en forme de preludes� (2004) for oboe, horn, and harpsichord. The work reflected many elements of a Debussy vocabulary and style. (I also thought of Poulenc while hearing it.)

The concert concluded with Debussy�s sonata for cello and piano (1917). Debussy�s vocabulary and style have become so much a part of our listening that it�s hard to believe there was a time when Debussy was "modern," when his intervals were perceived as odd and strange, when his harmonies sounded wrong, when his music seemed to be shapeless and sprawling. Having heard last week�s chamber concert of Brahms and Faur� I was struck by how much more comfortable Debussy and these last sonatas seemed to be with music of today rather than with music of a mere 40 years earlier.

The concert had the advantage of a couple of terrific guest musicians. Emanuel Ax played the piano for the Saariaho and the violin sonata and the harpsichord for the Stucky. Anssi Karttunen, the soloist in Sunday�s almost-concerto by Salonen, played the cello in the Saariaho.
The Brave New World of Maria Schneider

The most encouraging thing about the Grammys on Sunday night (aside from Norah Jones having put on a couple of well-placed pounds...sorry, it's a dirty old man thing) was that fact that the splendid jazz composer and performer Maria Schneider won a Grammy for her album "Concert in the Garden," without having sold a single copy in a record store.

Schneider financed her Grammy-winning album for about $87,000 through an Internet-based music delivery service called ArtistShare that opens the financing of production to dedicated fans. As the web site explains the business model, the goal is to make the audience partners, not simply buyers of a final product: Through ArtistShare, artists allow their audience to directly 'participate' in their current projects by selling "Participant Offers". By allowing such an in-depth look in to artists' lives, intimate and long lasting relationships are cultivated.

Downloads and pre-funded projects are clearly the future of the music industry and the relatively low price of self-producing an album--alone or through a collective like ArtistShare--is going to make the Maria Scheider example more and more common. I think this is a hopeful sign as it should allow people who make serious music build an audience they might otherwise never find.
Penn Sounds: Maya Beiser - World to Come

 height=When Israeli cellist Maya Beiser plays, it's real and it's Memorex! Beiser uses multi-track recording, some technical enhancement, and a video environment designed by Irit Batsry to create an audio-video experience with new music, mostly composed for her.

In Arvo Part's Fratres (1980), Beiser coaxes out sounds that are almost unearthly, but may just add harmonies over a long ground note. In a piece written for twelve cellos, Beiser manages to sound like several at once; the slow, melancholic, repeating patterns are backed by shades of blue.

Osvaldo Golijov composed Mariel (2001-2003), in memory of the death of a friend's wife, for Beiser accompanied by marimba, and the tonality reflects his native Argentine cadences. The melancholia in this two-tracked arrangement is more straightforward, a low slow tango with throbbing undertones under an orange sky. Beiser inserts a sense of "timelessness" with a performance by Four Strings by Cambodian composer Chinary Ung, a piece representing the violence and horrors of Cambodian history. In this unenhanced arrangement, there is percussive tension, whining ground, and harsh chords against a gray-beige light.

Cello Counterpoint by Steve Reich (2003) was commissioned by Beiser and is the first piece he wrote entirely for cello. There are seven recorded tracks, and the frenetic rhythm is echoed and video-enhanced by moving slashes of white on red, which keeps the typical Reichian repeated patterns from being too deadly by way of distraction. There is a slow center section in black and white, with a faster portion in swirling colors and shifting geometrics.

A different mood was created by Louis Andriessen's 1981 La Voce, which incorporated the poem by Cesare Pavese. The stage was completely covered with a projection of a large empty and unfinished room; the cellist whispering the text creates an atmosphere that is more resonant than the cello tones that are interspersed.

World to Come (2003) is Beiser's long-term collaboration with composer David Lang, and is influenced by jazz, with its jagged lines and syncopated rhythms against flickering video and a recorded ground line, but you might also be reminded of Bartok or Ysaye. The cello phrases are somewhat repetitive, but augment and develop against the visual turmoil of clouds, sky and moving water, eventually allowing the listener to be immersed into this new universe of sound and light. Beiser's style is elegant and intensely energetic with a sense of artistic showmanship that is neither aggrandizing nor artificial.
Fresh Ink Series
Kimmel Center
Philadelphia, PA
February 10, 2005

(Reposted Penn Sounds 2/14/05)
The Transmigration of John Adams

According to Steven Swartz, the friendly flack over at Bossey & Hawkes, last night's John Adams Grammy triple has made the most frequently performed living American composer:

The only composer in Grammy history to win Best Classical Recording, Best Contemporary Composition, and Best Orchestral Performance in a single year.

The only composer to win Best Contemporary Composition three times in his lifetime, for On the Transmigration of Souls (2004), El Dorado (1998), and Nixon in China (1989).

The first American composer to win three Grammys in a single year. (Benjamin Britten won three for War Requiem in 1963 � Classical Recording, Contemporary Composition, and Choral Recording.)

The first composer to win Best Contemporary Composition and a Pulitzer Prize in Music for the same work since 1964 (Barber�s Piano Concerto).

So, do we think this guy might be a little overrated?
What's New Today?

Good morning, Valentines. Lawrence Dillon is back from the annual Chamber Music Festival at the North Carolina School of the Arts and has a full report...David Salvage has a review of guitarist Daniel Lippel's new CD Resonance and...Brian Sacawa is on the road this week, including a Wednesday night stop at Miller Theater for his New York Debut recital called American Voices. Check out the fantastic program and Brian's schedule for the week.
Last Night in LA--Salonen the Composer

Yesterday�s LA Philharmonic program was part of a three-program focus on compositions by the Phil�s Music Director, Esa-Pekka Salonen. All three programs will then be taken by the Phil and Salonen to performances in Cologne in March. The first program returned �Wing on Wing� (2004)-- written in honor of Frank Gehry and Walt Disney Concert Hall -- and grouped it with the Debussy �Fantasie� for piano and orchestra and Stravinsky�s �The Rite of Spring� which has become a signature piece for the Phil. The third program, in two weeks, will pair �Insomnia� (2002) with the Bruckner 7th.

The second program, yesterday, began with Stravinsky�s �Pulcinella Suite�. This was a great opening, witty but with a punch, a perfect martini. Then Salonen�s school friend and compatriot, the virtuoso cellist Anssi Karttunen, joined musicians for Salonen�s �Mania� (2000), a fantasy concertante for cello and orchestra. Salonen, a horn player, and Karttunen met in the junior orchestra of the Sibelius Academy, and �Mania� is the second piece Salonen has written for his friend.

In this work the cello part frequently shifts from that of soloist to that of member of a chamber ensemble. The instrumentation is that of a chamber orchestra with only the solo cello to join two basses, a trombone, a bassoon, and a piano to provide the low voices. Orchestral color is provided by a harp, vibraphone, marimba, glockenspiel, gongs, and conga drum joining the violins, violas, and other winds. The "mania" of the title is represented by continuous motion; there is an almost obsessive-compulsive scurrying and a resistance to quiet and peace. A new direction starts before the other has ended; statements overlap. The work requires a virtuoso player and Karttunen is certainly that. He and Salonen have recorded this piece with the London Sinfonietta.

The final work on the program was the Berlioz �Symphonie fantastique�. The Phil�s performance sounded much better than my memory of the performance last year in the Berlioz cycle, but last year�s performance was probably constrained by the well-intentioned but disappointing dramatization with visuals. Concentrating just on the music, this was a stirring performance. Salonen used the Disney acoustics to great effect, positioning the oboe in the right balcony for the third movement�s shepherd�s duet with the English horn, and positioning the chimes in the top back balcony for the final movement. This was one of those occasions when standing ovations might be both truly felt and truly deserved.
Who's Your Grammy?

John Adams was the big winner in the classical music category at the Grammys last night, winning three awards for the New York Philharmonic live recording of composer his tribute to the victims and survivors of the Sept. 11, 2001, terrorist attack.

 height=The recording of "On the Transmigration of Souls," which was released by Nonesuch Records on Aug. 31, 2004, won Grammys for Best Classical Album, Best Orchestral Performance and Best Classical Contemporary Composition. It was conducted by Lorin Maazel.

 height= Jennifer Higdon had to settle for Best Engineered CD for her City Scape; Concerto for Orchestra," with Robert Spano and the Atlanta Symphony on Telarc.

 height=David Frost, producer of the Naxos� Milken Archive of American Jewish Music was named Producer of the Year (Classical) for his work on a disc of music by Yehudi Wyner, which also received a nomination for Best Small Ensemble Performance, as well as a number of other Milken Archive CDs.
One Ringy-Dingy, Two Ringy-Dingies

The American Music Center has just commissioned six composers to create an original electroacoustic piece for use as on-hold music in AMC�s telephone system. Starting in June, you can listen to a short piece by Halim El-Dabh, Raz Mesinai, Ira J. Mowitz, Larry Polansky, Roddy Schrock, or Randall Woolf while you�re waiting for Frank Oteri to pick up the phone. Each of the composers gets $1,000.

�The Siday Music On Hold Program,� as it is called. was developed last year as a partnership between the American Music Center and the Eric and Edith Siday Charitable Foundation to honor the legacy of Eric Siday, a pioneering electroacoustic composer and educator who is known as the inventor of �identitones,� the musical logos used for commercial entities like Maxwell House coffee, ABC-TV, and Westinghouse.

According to the blurb:
The American Music Center and the Siday Foundation anticipate that the full impact of Music On Hold will reach far beyond one organization�s telephone system. In the age of cell phone ringtones and other technology-based �incidental� listening opportunities, Music On Hold draws attention to office telephone systems as a ubiquitous, untapped venue in which composers can promote their work, music enthusiasts and professionals can discover and enjoy new pieces, and organizations can develop brand identity and support the arts.
I dunno. I�m for anything that promotes good new music and the idea that such potentially low-brow endeavors might lead serious composers to be co-opted by large corporations and pressed into service creating sugary jingles for large amounts of money doesn�t bother me because, hey, we�ve all got to make a living.

My concern has nothing to do with the AMC, which does a great job, or the Siday Foundation; I�m sure they mean well. It is that we now live in a society that has been so continuously saturated by visual and audio messages that we have lost the ability to amuse ourselves quietly for 10, 20, 30 seconds...or, at least, the marketing meta-structure (let�s call it Big Brother) has assumed that we are incapable of doing so. Public America now operates on the old broadcast maxim of �no dead air,� the split second a batter whiffs for the third out, the organ surges, and a loud male voice starts selling you on next week�s game or on the forthcoming Jason Giambi bobble-headed dope day. All of this artificial stimulation cannot be good for the soul.


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