The scuttlebutt around Columbia University’s new senior composer hire seems to be true. As Alex Ross reported on The Rest is Noiseyesterday, Austrian composer Georg Friedrich Haas will be joining Columbia’s faculty sometime during the 2012-’13 academic year, replacing Tristan Murail, One revels in the possibilities, not only for graduate students in composition, but for the rest of us too; we’ll likely get to hear some terrific programs during his time stateside!
The Wellesz Theatre is streaming Haas’s 2011 opera Bluthaus in its entirety via YouTube (embed below).
Our friend Thomas Bjørnseth has some terrific musical selections by Haas on his Atonality.Netwebsite.
New Jersey Arts Collective is presenting their annual Pictures concert at the Montclair Art Museum on Thursday, May 24 (pre-concert talk at 6:45; show starts at 7:30). In response to a competition held earlier this Spring, high school and college age students submitted compositions for solo piano somehow inspired by the Philip Guston painting Untitled 142 (1979), which is part of MAM’s collection. The winning entries, as well as several “micro-commissions” of short works from area composers, will be performed on the concert by pianist Carl Patrick Bolleia. (Purchase tickets here).
NJAC was kind enough to program two new piano pieces by yours truly: the program notes are below.
Gloss on Guston is a brief piece for solo piano. After hearing a playthrough of the work, a colleague recently quipped, “You’ve fit all the notes of Feldman’s For Philip Guston into one minute!” Indeed, there are many more notes per bar in this piece than in Feldman’s lengthy meditation of contemplative pointillism on Guston’s artworks: with good reason. Feldman’s music regards earlier pieces by Guston – his program note indicates paintings from 1949 and 1950 were the impetus for his reliquary to his abstract expressionist painter friend. My work is a response to a late painting by Guston – Untitled #142 (1979) – which resides in the Montclair Art Museum’s collection. Its vivid colors and angular shapes suggest to me busy athleticism and even, at times, motoric gestures, as well as a taut formal design. It was composed in 2012 in response to a commission from New Jersey Arts Collective and receives its world premiere today.
Fiery Sunset is a coda to my previous commission from New Jersey Arts Collective and the Montclair Art Museum: Innesscapes, a piece composed in 2008 that responds to the museum’s extraordinary collection of pieces by New Jersey landscape painter George Inness. It is scored for clarinet, viola, and piano. The first two instruments play the piece’s first movement, while all three instruments participate in movements two and three. After hearing the premiere, in order to balance the work I wanted to add a movement, one in which the piano gets a solo turn.
Fiery Sunset may be played by itself or as part of Innesscapes as a whole. It responds to Inness’s painting Sunset and is dedicated to local composer George Walker as a small gift acknowledging his ninetieth birthday on June 27, 2012. It also receives its world premiere today.
When it comes to studying, I don’t advocate “cramming.” I’m more of a fan of looking at the material throughout the semester and reviewing for final exams in an organized way over multiple sessions. But during finals week, even students with the best of study habits have to log a fair amount of hours preparing for exams. And, especially when burning the midnight oil, it’s important to have some tunes along for marathon study sessions.
The playlist below, courtesy of RCRDLBL, promises to keep things lively.
In a mailing yesterday, I wrote on behalf of Manhattan New Music Project’s100 donor December initiative. The letter is quoted below. I know everyone is inundated with funding requests at this time of year, but if it’s a cause and organization that moves you, I hope you’ll help them continue their mission to help both kids and new music composers, performers and teaching artists. I did.
It’s December 23rd. Hanukkah is here and Christmas is just hours away. As you scramble to find the perfect last-minute gifts for your loved ones, will you consider one more? The gift of music?
For young students from low-income communities with little access to the arts, and for composers and musicians trying to make their voices heard in difficult times, MNMP’s education and performance programs are as precious as anything that might fit into a stocking (or a sleigh).
Last week, you heard from one of MNMP’s teaching artists about how creative expression enriches her students’ lives. This week, we spoke to a recent collaborator about MNMP’s impact on the professional musicians we serve.
Christian Carey (right) with fellow composer Hayes Biggs.
Meet a Composer: Christian Carey
Christian Carey(pictured, right) is an active composer and music theorist, as well as a Contributing Editor at the classical music blog Sequenza21. In October, Sequenza21 and MNMP joined forces to bring the American Contemporary Music Ensemble (ACME) to Joe’s Pub, performing the work of eleven composers chosen through a call for scores. “We wanted this to be an inclusive and community-building experience,” says Carey, “so I’m particularly proud that we agreed from the outset to make it an open call: no entry fee, age limit, or geographic restrictions. This allowed many composers who don’t often get a chance to participate in competitions, which often include high fees and age requirements, to be included. We ultimately received over 260 eligible entries, from as far away as the UK, Italy, South America, and even Uzbekistan. We even got a review in the New York Times in which Steve Smith praised our community-building activities!
ACME’s Clarice Jensen.
“On the night of the concert, I heard over and over again from the composers about how impressed they were with their experience. Several of them remarked that they rarely, if ever, had had the opportunity to hear their pieces performed after their initial premieres; and certainly not by musicians of the caliber of the members of ACME.
“What our organizations were able to do together made a big difference in these artists’ careers and provided them, and the audience, with a memorable musical experience that they will cherish. That’s why even in the tough economic times we are all currently experiencing, events like these are so important and sorely needed.”
Published in 2007, The Rest is Noise, Alex Ross’ first book, was an engrossing and thoughtful survey of Twentieth Century music, equally useful as an introduction to neophytes and a refresher to specialists (he’s since tweaked the paperback edition to be even more comprehensive, including updated info and a “go-to” listening list). By “classical music” standards, the book was wildly successful, and Ross subsequently garnered a number of honors, including a 2007 National Book Critics Circle Award and a 2008 MacArthur Fellowship. Its follow-up, Listen to This, doesn’t limit itself to contemporary concert music. Instead, it’s a wide-ranging survey of musical topics, including portrait essays of musicians as diverse as Radiohead, Marian Anderson, Sonic Youth, and Cecil Taylor, discussions of specific musical genres, and thought pieces on the state of music education, the record industry, and cultural consumption at home and abroad.
Ross has been a music critic on the staff at the New Yorker since 1996. While most of these essays are culled from his writings there, Listen to This never strikes one merely as a “greatest hits” compilation. Rather, the volume is structured to tease out several overarching concerns. One of them is the working musician. In one chapter, he demystifies the grueling touring schedule of chamber musicians, pointing out that even acclaimed groups such as the St. Lawrence String Quartet have to hustle to make a living in today’s economic climate. Far from being another “death of classical music story,” Ross argues for the relevancy of these touring ensembles that, despite these challenges, bring music of a very high level of artistry to locations far and wide, many of them off of the beaten path. Another topic is globalization’s affect on postmillennial music, which is explored in a particularly fascinating travel essay detailing a concert-filled trip to China and in a jaunt to Carnival in Brazil with Björk.
While there’s no mistaking Ross’ erudition, a trait that allows specialists to prefer his writings to those of some of his journalist colleagues with less musical knowledge, Listen to This is an approachable collection. One of the ways in which it speaks to a wide audience is with an eagerness to share in what Leonard Bernstein called “The Joy of Music.” Indeed, Ross is that rare writer on music who can share his enthusiasms for an artist’s work with unabashed honesty. But even when backstage with Radiohead or following Björk through the streets of Salvador, he defuses any notions of fanboy journalism – a trend that, alarmingly, has infiltrated all too many publications of late. Instead, Ross seeks to put a human face on artistic process, detailing the origins of Björk’s eclectic musical tastes and providing a foil for the singer’s exotic costumes and playful demeanor by detailing a studio session in which, while humane, she is exacting in eliciting musical details from collaborators. There’s an emotional openness, even vulnerability, which runs through a number of these essays. His eulogy of the exquisitely talented mezzo-soprano Lorraine Hunt Lieberson is one of the most affecting yet observant tributes to this recently departed artist (rereading it was made all the more poignant by the passing in April of her husband, the composer Peter Lieberson).
The state of music education is a frequent topic of discussion of late. Ross’ essay “The Crisis of Music Education” should be required reading for policy-makers, educators, and the parents of artistically motivated children alike. As one can tell by the title, it acknowledges the beleaguered state of arts and education funding; but Ross still provides several glimmers of hope for the future. He describes the unlikely and extraordinary flowering of a music program in the inner city at Malcolm X Shabazz High School in Newark, New Jersey. Another urban success story is detailed in Providence, Rhode Island’s Community MusicWorks, a program run by the Providence String Quartet, a group of graduates from major conservatories who prefer giving back to staking a claim for fame and fortune. Ross even gets in on the education act himself: part of his book tour for Listen to This has featured a performance/discussion of bass lines throughout music history ranging from Purcellian grounds to Delta Blues walking lines: it’s also made for a cult YouTube hit, in which Ross is joined by the Bad Plus’ Ethan Iverson and ex-Battles composer Tyondai Braxton.
A staff position at the New Yorker provides a platform from which can wield considerable influence. Some of the essays collected here have already had undeniable impact. Ross has done a considerable amount to raise the stock of Alaskan composer John Luther Adams, and his fascinating chapter on the composer’s works and working environments is another “must-read” excerpt. One wonders whether it’s mere coincidence that Providence String Quartet founder Sebastian Ruth received a 2010 MacArthur Fellowship. If Ross had a hand in this, more power to him: it’s nice to see a music critic on the side of the good guys!