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Jerry Bowles
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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

Saturday, October 08, 2005
Is Corey Losing His Religion?

For those of you fortunate enough to catch Corey Dargel's Friday night performance at Location One, I have a question: what's not pop about his music? Reviews of Dargel's music uniformly mention that he traverses the boundaries of pop and contemporary classical, but I have a hunch that these reviewers have been neatly hoodwinked by Mr. Dargel: his music isn't "dangerously close to commercial viability" (sorry Kyle), it's reached commercial viability.

Before I go any further, I should clarify a few things. For starters, the music is amazing. I'm not trying to remove the classical tag because I think this stuff isn't achieving some standard of artistry or complexity or intellectual rigor; I just happen to believe that all those things are completely achievable within pop music. Also, my first exposure to Dargel came 5 or 6 years ago when he and Rob Reich played a concert at Mercer University in Macon, Georgia. His music then was a mass of swirling, minimalist textures played on guitar and keyboard upon which repeated vocal lines floated. While many of these elements have been retained in Dargel's current musical incarnation, verse-chorus structure, electronic drums, and even choreographed hand claps have all appeared.

These new additions result in a music that contains all the hallmarks of pop. Voice and lyrics, despite intriguing arrangements, are the focal points of the songs. The melodies are often even catchy, though in more of an R.E.M. than a Madonna way. The rhythms, though sometimes skittish, drive the songs and regularly merit some unconscious foot tapping or head bobbing. The timbres too are pop-derived. Though the electric guitar and saxophone (performed by Sheila Donovan and C�sar Alvarez respectively) have both embarked along the process of garnering some classical pedigree, the synth keyboards and drums (especially the drums) that Dargel chooses have little precedent in recent new music. Finally, there's the stage show. While laser shows and sequins aren't likely to make an appearance anytime soon, the stage patter jokes, Dargel's soon-to-be-trademark hat, and the physicality of the performance (Dargel mimicking Alvarez's sax solo gesturing, for example) are far more pop than classical.

I think reviewers have tended to look at Dargel through the contemporary classical lens for a couple of reasons. First, his songs are clearly the product of someone who's applied careful thought and a sophisticated ear to his writing, and the lyrics match the music in cleverness. While these traits might be more representative of the contemporary classical scene, they're certainly not absent from the pop world (however unlikely you might be to hear them on the radio). In fact, while listening to the concert, I heard more of pop artists ranging from Magnetic Fields to Boards of Canada to Postal Service than his musical cohorts Eve Beglarian and Phil Kline.

All this dovetails nicely into the second reason critics see Dargel as too art for pop - they're classical critics attending concerts at venues geared toward contemporary classical. The setting suggests the interpretation. Dargel has succeeded, through the quality of his music and performances, in marketing himself !to the new music community. It's a wise move, too. Though I have no doubt he could garner plenty of fans in the indie/college scene, by appealing to us highbrow folk he gains himself a healthy measure of artistic freedom (no label, thank you very much), an audience practiced at careful listening, and the support of organizations like Meet the Composer and Roulette who are driven by goals other than profit.

In the process, Dargel's composer-pop offers contemporary classical something great in return: the ability to draw an audience. Location One is a small venue, but Dargel had more attendees than the place had chairs. With more exposure, I imagine the audiences will only grow and the organizations and musicians (like Phil Fried, who opened the show with some entrancing bass and analog processing improvisations) around him will reap the benefits.
American Voices in Kabul

Here's one of those neat music-as-the-universal language stories. American Voices has recently completed �Jazz Bridges Afghanistan� a series of concerts, DVD and CD recordings and documentary filming in Kabul, Afghanistan from September 28 to October 3, 2005. Continuing a series of performance and recording projects begun in Burma, Azerbaijan and Kazakhstan, the project brought together American Voices� Pianist and Executive Director, John Ferguson, Mike Del Ferro Jazz Trio and vocalist CoCo York, a recording technician and two groups of Afghan traditional musicians (playing the Tabla, Dilruba, Rhubab, Tablas and Harmonium) and pop musicians for three concerts broadcast on national television and recorded for release in January 2006. These were the first concerts by American artists for the Afghan public in over twenty-five years. Full details here.
I'm Ready for My Close-Up Now, Mr. DeMille.

It's now official. Sequenza21 has been chosen as this year's ASCAP Deems Taylor Internet Award winner. The awards ceremony will be at Ross Hall at the Time-Warner Center on December 15 from 5-7 pm. (Apparently, some other people will be getting awards, too.) They said I could bring guests. Not sure how many but if any of the regulars would like to attend, let me know in the next couple of days and I'll put you on the guest list.

Everette Minchew is writing music again and adjusting to life after Katrina...Don't forget Corey's show tonight.

UPDATE: Just got a note from our friend Marvin Rosen of WPRB with the news that his Classical Discoveries program is getting the ASCAP Deems Taylor Broadcasting Award on December 15. Good show, old chap.
Crossover music

Nice article by Allan Kozinn that mirrors my own feeling on rockers' attempts to raise their Satanic chalices on high to the Goddess of Classical Music and quaff the heady ambrosian mead of Sonata-allegro form (or however Jack Black would phrase it):
It seems to be a part of the human condition that having established a specialty, we hanker to do something else. And far be it from me to say that we shouldn't. But speaking as a classical music critic who also listens to lots of rock - and who wishes that more rock fans found classical music exciting as well - I must confess that I find many of these crossover incursions dispiriting.

My own takes on the subject, as refracted through the prism of folk music (a review of the premiere of Mark O'Connor's Bluegrass Quartet):
Why do so many pop musicians aspire to write classical music? The hunger for critical recognition is not apparent in other artistic endeavors. How many action film directors use their Hollywood prestige to make a probing drama of the human condition? Tom Clancy doesn�t try to expand his genre to produce insightful novels about human relationships in contemporary society. Neil Simon doesn�t attempt to write brainy mind-bending fantasies dense with allusions. They�re content to work successfully within their own fields.

For some reason, popular composers want the approval of classical critics and audiences. This may have had some validity 80 years ago, when the �music critic� at the paper only reviewed classical concerts; in fact, the designation �classical music critic� is a fairly recent title in journalism. In our era of cultural relativism, where professors get tenure publishing books on Madonna or Buffy the Vampire Slayer, the hankering for classical acceptance is unnecessary, an anachronistic throwback to the days when the only music that was taken seriously, that was considered respectable, was classical music.

Yet they keep trying: Paul McCartney, Andrew Lloyd Webber, Billy Joel, Elvis Costello, David Byrne. For whatever personal reason, they keep assaulting the ivory tower. And unfortunately, they keep failing�aesthetically, anyway. This doesn�t bother classical music producers; they love (or at least view as a necessary evil) the ticket and CD sales that crossover music generates.
(Complete article here).

and world music (a review of the Silk Road Ensemble):
The word �crossover� is a red flag to the classical music purist. Not only does the flag snap in their face, but the flag pole pokes them in the gut, and the cast bronze eagle on top of the pole conks their cranium.

Most classical crossover projects fail miserably on aesthetic terms. Opera stars with wide vibratos and bad English diction can�t convincingly sing musical theater, and surrounding them with legit Broadway singers only heightens the incongruity. Classical instrumentalists who play note-for-note transcriptions of jazz solos usually fall short of the original in missing out on the unnotated subtleties of rhythm, phrasing, and timbre that a jazz musician instinctively supplies. Arranging a Metallica song for orchestra or a Beach Boys tune for string quartet is an unnatural act far more heinous than carrying an ounce of marijuana or offering sexual services for money; yet our hypocritical society allows these arrangers to walk the streets and corrupt our minors while we imprison potheads and prostitutes.
(My entire review here.)

And a big shout out to Jerry Bowles, who's been waiting for a few prose crumbs from me for nearly ten months. There's more to come, I promise Jerry!
The Corey Relief Effort

Okay, folks, this is a call to action. Corey Dargel's folks are coming all the way from south Texas to catch his performance (with C�sar Alvarez and Sheila Donovan) tomorrow night at Roulette at Location One, 26 Greene Street (between Canal and Grand). The show hasn't had a lot of publicity and we need to scare up a decent crowd. Can we count on you?

All our bloggers are apparently sleeping in this morning but you can read Pliable's terrific post below. Read the longer version at On An Overgrown Path.
Thirty forgotten 20th century composers

What do Max Trapp, Gerhart von Westerman, Alfredo Casella, Kurt Hessenberg, Walter Braunfels, Philipp Jarnach and twenty-four other 20th century composers have in common?

First, their compositions were all programmed (and in some cases commissioned) by Wilhelm Furtw�ngler and the Berlin Philharmonic between the years 1922 and 1954. And second their work is not performed with any regularity today, and in many cases they have disappeared into complete obscurity.

Furtw�ngler and the forgotten new music exclusively publishes the results of a research project which analysed every one of the four hundred and seventy-three concerts Furtw�ngler conducted with the Berlin Philharmonic. This identified forty-five 20th century works, from thirty composers who have subsequently slipped into varying degrees of obscurity.

The research lists all these works, gives links to online resources for many of them, and provides biographical information for several composers. These include the now forgotten Max Trapp who was the most performed of this now forgotten generation of composers, and had three of his compositions premiered by Furtw�ngler.

And there are some important questions. What was this music like? Furtw�ngler was a brilliant musician who had a track record in new music including the first performance of Schoenberg's Variations for Orchestra, op. 31 (2nd version). Surely these forty-five works had some merit for him to champion them? Or were many of them politically convenient commissions? Is the comparative obscurity of these composers today simply typical of the casualty rate among new works?

Furtw�ngler and the forgotten new music paints a fascinating picture of new music in pre-war Berlin, and identifies a substantial body of forgotten compositions that may just deserve reassessment.
Last Night in L.A. - Stockhausen's Mantra

I have a big box labeled "I Don�t Like This Music" (which is much less full than it used to be), and I used to throw Stockhausen into it. But I kept hearing music by him which didn�t fit my perception and kept coming out of the box. Even so, last night was a revelation for me.

PianoSpheres opened its new season with Vicki Ray and her CalArts colleague Liam Viney, assisted on electronics by Shaun Naidoo in a performance of Stockhausen�s Mantra for two pianos and percussion with electronics. The pianists also played wood blocks and crotales, those tuned cymbals that produce bell-like sounds, to provide the colors Stockhausen wanted. The electronics are used to modulate the tones from the piano to add additional pitches, producing an other-worldly set of notes. The music has a wide range of feeling and attitude, including an �argument� between the two pianos in which they compete to have the last word.

I found an essay by another fan of the work at this site. Good old Amazon has 25 samples from the music here. In last night�s performance the electronic sounds were less prominent than in the sound clips from the recording so I can listen to the clips this morning and hear something quite different from what I experienced last night. The sound clips are too short to draw you in, so I can�t compare the recording to last night�s concert.

I really liked Mantra. I was captured by it. The hour went by and seemed like 15 minutes. Can you imagine Webern re-writing Schumann�s romantic piano pieces? That�s the closest comparison I can think of.
Shall I Compare Thee?

Speaking of music that is more fun than human beings should be allowed, the most addictive CD to come my way in a long time is Shall I Compare Thee? Choral Songs on Shakespeare on the Cedille label. Some of the pieces are familiar from previous Shakespeare compilations--Jaako Mantyjarvi's Four Shakespeare Songs, with its magnificent "Come away, come away, death;" a selection of Matthew Harris�s Shakespeare's Songs from which you would never in a million years guess that he was a student of Carter and Babbitt; Nils Lindberg's Shall I Compare Thee? But, most of the material is new--to me, at least--and none of it has ever been sung this well on CD. The Chicago a capella is some kind of magic blend of the great old jazz group, the Hi-Los, with a little Double Six of Paris and the Mormon Tabernacle Choir thrown in. I challenge anyone who listens to the first cut--Summer Sonnet by Kevin Olson, a composer and pianist at Elmhurst College near Chicago--to stop humming it for a week. In fact, you can listen to a snippet of that piece right here.

Back here at the fort, Corey Dargel has joined us as a solo blogger, in addition to his regular appearances over in the Composers Forum and Lawrence Dillon provides a report on his Atomic Weekend, spent in the company of some worthy dead Russians...William Grim has some splendid new CD reviews.
It Had a Good Beat and Was Easy to Dance to

Correct me if I'm wrong but there appears to be a bias afoot in the "serious" music community which holds that music that is too immediately engaging, too easy to listen to, too much "fun," can't possibly be any good. This attitude is especially pervasive with the complexity crowd. As a listener who is left cold by Carter and would rather be captured by the Viet Cong and kept in a tiger cage and fed jungle worms than sit through an hour of Charles Wuorinen, this...let's call it, elitist...attitude is puzzling. Even Schoenberg, who may have invented the concept of music as torture, wrote works like Gurrelieder that are pure, sensual pleasure to the ear.

These thoughts are triggered by the scheduled performance tonight at BAM of a long, throughly ear-engaging piece called Orion by Philip Glass which brings together some of the world's greatest players of indigenous instruments--Mark Atkins on the digeridoo, Wu Man on the pipa, Kartik Seshadri on the sitar, Foday Musa Suso on the African kora and many others--in what might be described (I'm showing my age here) as a multi-cultural hootenanny. I've been listening to a CD of Orion for several weeks now and I find it both thoroughly disarming and one more reason "serious" composers and critics tend to underrate Glass. His work commits the cardinal sin of academic modernism--it is commerically viable. For that, he is not to be forgiven.

Hey, we have a new blogger today. Jacob Sudol, a doctoral candidate at McGill, is going to be covering the Montreal scene for us and he checks in today with a review of a performance called "Old Life Was Rubbish."
If It�s Good Enough for Kronos, It�s Good Enough for Me

Actually, it�s not only good enough for the Kronos Quartet � Alarm Will Sound and Capital M (Ian Moss�s ensemble) have pages, and even superstar violinist Hillary Hahn has one. I�m talking about � a sort of cross between the music sites in the old style (,,,, etc.) and personal blogging and social networking sites like,, and innumerable dating sites. MySpace has some serious flaws and some major advantages over other sites, and ultimately the advantages have persuaded a small band of classical, post-classical, and quasi-classical musicians and performers to give it a try. Unfortunately, the biggest problem with MySpace is that its search features are abysmal, so if you go to and type my name into the search bar at the top of the page and click �search,� you won�t find me. (Plus, if you browse for groups who describe their music as �Classical,� most of the results are rock bands who list �classical� as their third descriptor, presumably to add a touch of apparent class.) The two big advantages of MySpace are substantial, though: First, major label, inde label, and unsigned acts all have sites, which legitimizes the music of the unsigned and inde acts. Second, the thousands of individual non-musician accounts builds a strong sense of community and a sense of ownership of that community among fans. Third, as soon as you get to a band�s page, the music starts up, which makes exploring extra fun and easy. And while there are not currently very many classical artists on MySpace, some big-name groups are blazing a path for others to follow, and some of the lesser-known people and groups have some fantastic music.

Here�s my review of some current highlights of MySpace:

Kronos Quartet � The classic performers of Different Trains, Black Angels, and, most recently, Bollywood music, has put up a shingle at MySpace. And they�ll be your friend if you ask nice.

Capital M (Ian Moss�s group) � Ian has been working hard to blur the artificial distinctions between classical and rock instruments, and Capital M does a great job of building an ensemble around a rock band configuration and turning it into a postminimalist groove machine.

Alarm Will Sound � Apparently, recording great versions of Steve Reich�s Tehelim and The Desert Music, both of which are excerpted at MySpace, wasn�t enough for Alarm Will Sound. They recently released �Acoustica� � their own arrangements and performances of songs by electronica giant Aphex Twin. Skeptical? Two of the songs are available at MySpace, and in this reviewer�s opinion they�re excellent.

Ian Cooke � You might say that Ian is a �singer/songwriter,� but instead of the standard piano/voice or guitar/voice we get cello and voice with guitars and drums for backup. A terrific combination of catchiness and weird/smart/playful. Sort of a male Rasputina.

The Ambitious Orchestra � Did you ever listen to your old punk records and think �this is great, but what it really needs instead of guitars is a harp, and some clarinets, and maybe a killer horn line.�? If so (and even if not) these guys have what you need. And apparently they�re working on an opera about Dungeons and Dragons, brilliantly entitled �Opera +1.� Being a dork has never been so sweet.

Paul Bailey Ensemble � What would happen if Philip Glass and George Friedrich Handel rented a time machine together and traveled to 1950 to put on a rock concert? I�m not sure either, but they�d probably have the Paul Bailey Ensemble open for them.. Sadly, Paul and the gang only have three songs posted, but they�re worth a listen.

Jeff Cook Ensemble � This is one of the more traditional ensembles on the list, but (dare I make the implication on these august pages?) they�re still worth checking out. �Angel� is a particularly lovely piece.

Edison Music � A tripped-out mix of electro beats, Philip Glass organs, Arvo Part strings, and 70s rock. �Love and Efficiency� is my personal favorite, and not just because it has a great title.

American Chamber Music � Don�t let the title fool you � we�re not talking about string quartets and piano trios. They have a rock band sound, but a very post-minimalist style. And if the first track doesn�t do it for you (it didn�t for me), skip ahead. The third and fourth pieces are particularly gorgeous.

And, of course, don�t forget about me!
Meanwhile, Back at the Ranch

Lawrence Dillon reminds us that the best way to get to Carnegie Hall is still "practice, man, practice." And that goes for composers, too...Elodie Lauten has mapped the process she uses to create a new composition...Tom Myron has a tribute to Luciano Berio, the man who inspired our name, who would have been 80 this month...Don't miss David Salvage's review of Ligeti at Miller a couple of items down.

In other news, congratulations to the nice folks at Naxos for winning the the 2005 Gramophone Award for Label of the Year. James Jolly, editor of The Gramophone, saluted Naxos and its "visionary zeal":
Few record companies have redefined the experience of buying CDs as dramatically as Naxos. In the company's 18-year history, it has united countless people with a quite staggering breadth of music. This year was a particularly rich one for Naxos garnering more Editor's Choices than ever before and filling in corners of the repertoire that other companies leave untouched. Its electronic and online presence with Naxos Web Radio and the Naxos Music Library show that the label's visionary zeal remains as acute as ever. Naxos has won many friends among music lovers down the years and The Gramophone is delighted to add itself to list of the company's many admirers.
With such worthy projects as William Bolcom�s Songs of Innocence and of Experience and Peter Maxwell Davies� Naxos Quartets, the people's brand has demonstrated, again, that classical music will sell and that quality doesn't have to be expensive.
Atomic Scorecard

With Mr. Adams's haunting score, what results is a complex, searching and painfully honest if somewhat problematic opera. Anthony Tommasini, New York Times

For all their labors, Adams and director/librettist Peter Sellars have created what Oppenheimer and his people feared: a misfire. Richard Scheinin, Mercury News

"Doctor Atomic," John Adams' hugely ambitious new opera, comes laden with high-minded intentions and is beautifully realized in its world premiere here by the San Francisco Opera.

But it doesn't live up to all its noble objectives. John von Rhein, Chicago Tribune

Make no mistake, "Doctor Atomic" is a magnificent accomplishment that easily takes its place alongside the other Adams-Sellars triumphs � "Nixon in China," "The Death of Klinghoffer" and "El Ni�o" � and in important respects goes beyond them. It contains music of unearthly splendor and gorgeous lushness, and its rich expressivity will take many hearings to absorb... So calling the evening a disaster would be a huge exaggeration. The performance Saturday, however, was not elevated. Mark Swed, Los Angeles Times

Some of the evening sputters, most of it is a forceful blend of tenderness and urgency leavened with occasional touches of graveyard wit. But any piece crowned by a stretch of writing as visionary and as stubbornly unforgettable as that Act 1 finale is already some kind of masterpiece. Joshua Kosman, San Francisco Chronicle

We'll just have to wait for Alex.
�Watching Ligeti Move� at Miller Theater

With its year-long menu of new music, early music, and jazz, the Miller Theater�s status as one of New York�s most exciting musical venues is a truism among cognoscenti. This year, the Miller�s stage sports a new dance floor, and, last week, dancers from the New York City and San Francisco Ballet companies tested it out with a trio of recent ballets by Christopher Wheeldon. The music was all Ligeti, and the show was (almost) all great.

The first ballet, �Polyphonia,� is a suite of ten short dances based on Ligeti�s solo piano music. While clearly Wheeldon is attracted to Ligeti�s more tonal side, brutal works like �D�sordre� and the famous �Mesto, rigido e cerimoniale� receive wonderfully imaginative treatments on stage. (You�ll recall the two-note �Mesto� from �Eyes Wide Shut.�) In his �Mesto,� Wheeldon fuses a pair of dancers together with tense, awkward postures that contrast greatly with the more fluid, intimate ones on display earlier (especially in �Arc-en-Ciel�). When the G finally arrives, the dancers break loose � but only to be hammered together again by the indomitable F/F-sharps.

The second ballet, �Morphoses,� is equally sensitive. Miller had the good sense to engage the Flux Quartet to render Ligeti�s First String Quartet, and theirs was easily the evening�s best instrumental performance. Wheeldon finds the perfect visual analog for the tight ascending chromatic scales that open the work: four dancers slowly rise from the floor, and, hands joined in a circle, begin an intricate, undulating dance that ends when the individual instruments find their autonomy. At other moments, females dancers, held in the air, face the audience with their arms extended like crosses: the effect � religious?, indignant?, tragic? � is unforgettable. And yet how it made me feel remains difficult to describe.

This third and final ballet, �Continuum,� returns to the world of Ligeti�s short piano pieces. The fourth and fifth dances, both set to the �Sonatina, Andante from �Five Pieces for Piano Four-Hands�,� were among the evening�s highlights. In the former, dancers Rachel Viselli and David Arce traverse a flame-red stage in a sequence reminiscent of Tamino and Pamina�s journey in �The Magic Flute.� In the latter, the stage turns to blue, and Viselli, poignantly, makes the return trip alone. But the evening�s concluding dance, to �L�escalier du diable,� is perhaps the most arresting. As the final piano crash decays in the pedal, the entire company, in silhouette, slowly lowers to the stage; they raise their heads and hands upwards and the lights go out. It�s a scene of great austerity and spectacle.

For the entire evening, Wheeldon, a self-described Ligeti-novice, responded to this great composer�s work with unflagging imagination. Ligeti�s music is a beguiling mix of the whimsical, mechanical, and pathetic, and it inhabits a loopy, magical world all its own. Most dance performances I attend � including the good ole Bolshoi this past July � leave me scratching my head; this time I left the theater satisfied, and let�s hope the Miller keeps its dance floor jumping with terrific work like this in the future.


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