Blogger Updates

RSS Christian Carey

RSS Jay C. Batzner

RSS Lawrence Dillon

CD Reviews


Cast and Crew

Editor:
Steve Layton

Managing Editor

Christian Carey

Contributing Editors:
Galen H. Brown

Chris Becker
Armando Bayolo
Garrett Schumann
Wes Flinn
Rob Deemer
Paul Bailey
Polly Moller
Ilona Oltuski
Elliot Cole
Ed Lawes
Scott Unrein
Iván Sparrow
James Holt
Lanier Sammons
Rodney Lister
Jerry Zinser

Zookeeper:   
Jerry Bowles
(212) 582-3791

Founding Publisher:
Duane Harper Grant

Send Review CDs to:
Chrisitan Carey
218 Augusta Street
South Amboy NJ 08879




Featured Release


BRIDGE
3 Disks
For Christian Wolff
Morton Feldman
California Ear Unit

Recent Comments

Recent Posts

Music Blogs

.............................


Listen Online:

RSS Scott Unrein’s Nonpop Podcast


Kalvos & Damian!
& Noizepunk and Das Krooner

The longest-running New & Nonpop music program on the web.

Counterstream Radio
Streaming radio from New Music USA.

Q2 Music - WQXR
New York-based online station devoted to the music of living composers.

Admin

The Salonen Count-Down: … 2 …

Last night Salonen conducted the premiere of his new Violin Concerto, performed by Leila Josefowicz. You can be sure there’s a lot of advance buzz about a piece when the Wall Street Journal publishes an essay about the soloist of a piece of classical music; unfortunately, much of the WSJ is protected by a subscription-only wall, but here’s the link in case you are willing to try. The work was initially scheduled for premiere back in January when Salonen conducted the Chicago Symphony, but it wasn’t ready and he substituted performance of the new Los Angeles Symphony (No. 4) by Arvo Part. The new Part symphony is a major and important work, but I don’t think the Chicago audience got the better of the switch. This new Salonen piece is astounding, the work of a mature composer and a great virtuoso on the violin. Why wasn’t this being recorded? (The performance will be broadcast tomorrow night, Saturday the 11th, at 8:00 p.m. PDT on KUSC.)

First of all, the violin part sounds almost unplayable, as implied by the WSJ article. How did she hit so many notes without any sounding wrong? How did she have such drive and energy to come to the orchestra like a storm, lifting them up and moving them along and capturing their music in her environment? Second, the orchestral parts show Salonen as an assured master of melody and color; his understanding of the colors of Stravinsky and Ravel as a conductor come across as a composer. In his pre-concert talk with Steven Stucky, Salonen said that he composed thinking of the Philharmonic musicians who would be playing the parts; he knew how they would do, how they would sound. Third, and most important of all, Salonen as composer has something to say, not merely the techniques with which to say it.

The work is in four movements, lasting just over a half hour. But rather than reading my words, read Salonen’s comments on the work, here.

The work was surrounded by Ligeti’s “Clocks and Clouds” and the Beethoven Fifth. Salonen, composer-conductor, had something new to say about the Fifth, something he didn’t quite say in his Beethoven cycle three years ago. This was not a performance by Karajan or Bernstein, to name just two. It seemed as if Salonen was working to make us feel how new and how radical Beethoven’s work was. Parts seemed to race, parts seemed to contemplate; the whole was very persuasive.

    A note for composers in Southern California

Two students at USC Thornton have formed a group named “What’s Next?”, and with the cooperation and assistance of advisors at USC/Thornton are scheduling a series of three concerts of new music this June (June 11, June 16, and June 19). They are soliciting composers across SoCal to submit “adventurous” new works, no longer than 20 minutes long, for soloist or chamber group. They already know they will be playing works by Don Crockett, Stephen Hartke, Erica Muhl, and Paul Chihara. If you go to their web site, here, you’ll find much more information, including information for composers and for musicians with abilities to participate in the performances. If, like me, you’re without either talent, you’ll also find the initial information about location and starting time of this interesting new start-up. Oh, yes, you’ll also find their names, but do check out What’s Next?

Photo credit:  J. Henry Fair

Comments

Comment from JerryZ
Time: April 11, 2009, 8:57 am

I thought you might enjoy reading the LA Times article about Salonen and his audience, http://latimesblogs.latimes.com/culturemonster/2009/04/esa-pekka-salonen.html.

And here is Mark Swed’s review of the concert: http://latimesblogs.latimes.com/culturemonster/2009/04/esapekka-salonen-premieres-his-violin-concerto.html

Jerry Z

Comment from David Mente
Time: April 11, 2009, 6:48 pm

Thanks for your review of the new violin concerto. I just saw Ms. Josefowicz a few weeks ago here in Pittsburgh playing John Adams Dharma at Big Sur. It was quite wonderful. I feel quite lucky to be around now with so many great violinists playing new music. I believe it creates a synergy between composers who are inspired to write for such great musicians. Right now we have Gidon Kremer and Anne-Sophie Mutter as the older generation. The younger generation has folks like Josefowicz playing an incredible amount of new music, Jennifer Koh is quite an advocate as well (her Ligeti is fantastic), Hilary Hahn has been playing a new Higdon piece, Benedetti just premeired a John Taverner piece. Now some recording please.

Comment from Jerry Bowles
Time: April 11, 2009, 9:09 pm

I meant play together, Darcy. What did you think I meant? (Actually, I must have missed the divorce memo.)

Comment from zeno
Time: April 13, 2009, 9:32 am

I am rushed in posting this, but it would appear that Leila Josefowicz will have performed, over a ten week period, violin concertos by John Adams, Thomas Ades (San Francisco), Esa-Pekka Salonen, and Oliver Knussen (the National Symphony, early May).

Am I missing any other new concertos championed, this Spring, by Ms Josefowicz?