To many, Memorial Day weekend means the kickoff of the summer season: getaways, barbecues, traffic, and more traffic …
But the New York new music scene doesn’t seem to be on holiday from its Spring season yet. indeed, we’ll be talking a number of events in coming weeks, extending well into June.
Performers and, one hopes, audiences, aren’t even taking the weekend off. Tonight is an all Milton Babbitt concert at CUNY Grad Center. It features several pieces done by the performers who’ve made them part of their core repertoires. But any chance to hear Judith Bettina sing Philomel again or William Anderson and Oren Fader play Soli e Duettini is most welcome. Less often heard but featured here is the early “Composition for Four Instruments” and the piano duo Envoi from 1990. Though it’s bittersweet to go to hear Babbitt’s music without his convivial presence and sepulchral commentary, it is good to see that the Composers Alliance and CUNY are making every effort to keep his music alive.
Milton Babbitt Retrospective
Friday, May 25, 2012, 7:30pm at CUNY Graduate Center
Elebash Recital Hall (365 Fifth Ave, New York) Free Admission
None but the Lonely Flute (1991) Patricia Spencer, flute
Envoi (1990) Steven Beck and Zachary Bernstein, piano
Soli e Duettini (1989) Oren Fader, guitar, William Anderson, guitar
Melismata (1982) Karen Rostron, violin
Philomel (1964) Judith Bettina, soprano
Composition for Four Instruments (1948) Patricia Spencer, flute; Charles Neidich, clarinet; Joshua Modney, violin; Christopher Gross, cello
My Ends are My Beginnings (1978)Charles Neidich, clarinet
More Melismata (2006) Christopher Gross, Cello
Swan Song no. 1 (2003) Barry Cooper, flute; Robert Ingliss, oboe; William Anderson, mandolin
Oren Fader, guitar; Calvin Wiersma, violin; Susannah Chapman, cello; James Baker, conductor
On Saturday, Collide-O-Scope Music is presenting a varied program, including a Babbitt work as well, but mostly featuring music by emerging and mid-career composers. As is often the case, CoSM programs both works for conventional instrumentation and for sound objects that are decidedly unconventional. Here, the latter is represented by Lou Bunk’s “scratch-o-lin,” a cardboard contraption that he fervently attacks with a violin bow!
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