02-08 Bristol, UK – The Fleece
02-09 Dublin, IE – Whelans
02-10 Belfast, IE – The Black Box
02-11 Glasgow, UK – Stereo
02-12 Leeds, UK – Brudenell Social Club
02-13 London, UK – Village Underground
02-15 Paris, FR – La Maroquinerie
02-16 Nantes, FR – Stereolux
02-18 Metz, FR – Les Trinitaires
02-19 Rotterdam, Netherlands – Rotown
02-20 Kortrijk, Belgium – De Kreun
02-21 Utrecht, Netherlands – Ekko
02-22 Hamburg, Germany – Molotow
02-23 Malmo, Sweden – Debaser
02-24 Aarhus, Denmark – Voxhall Atlas
02-26 Oslo, Norway – Revolver
02-27 Stockholm, Sweden – Debaser Slussen
02-28 Cophenhagen, Denmark – Copenhagen Jazzhouse
03-07 Boston, MA – House of Blues*
03-08 Montreal, QC – Metropolis*
03-09 Toronto, ON – Danforth Music Hall*
03-11 Cleveland, OH – House of Blues*
03-12 Covington, KY – The Madison Theater*
03-13 Nashville, TN – Marathon Music Works*
03-15 Royal Oak, MI – Royal Oak Music Hall*
03-16 Chicago, IL – Riviera Theatre*
03-17 Madison, WI – Orpheum Theatre*
03-18 Minneapolis, MN – First Avenue*
03-20 St. Louis, MO – The Pageant*
03-21 Kansas City, MO – Midland Theater*
03-22 Denver, CO – Ogden Theatre*
03-23 Salt Lake City, UT – Depot*
03-24 Boise, ID – Treefort Music Fest
04-20 North Adams, MA – Mass MoCA
04-27 New York, NY – The Metropolitan Museum of Art
If you have not yet heard Canto oscuro pianist Anna Gourari’s recent debut for ECM Records, you are missing out.The CD’s program combines affecting performances of transcriptions by Ferrucio Busoni of chorales and the Chaconne in d-minor by J.S. Bach with modern repertoire by Paul Hindemith and Sofia Gubaidulina (another Chaconne). The recording shows Gourari capable of performing repertoire in a wide range of moods: from the brash Ragtime movement found in the Hindemith suite to the gravitas and grandeur required in the Bach/Busoni transcriptions. One through line: she makes technically demanding repertoire sound far too achievable by mere mortals.
I’d hoped to get a chance to hear her live tonight in a performance at the German Consulate in New York, but it was not to be. I’ll have to content myself with the luminous performances on Canto oscuroand hope she visits New York again soon.
Much as I respect his work as a composer, I was upset by Keeril Makan’s post on the NY Times’ Score blog yesterday.
I’m not sure I buy Keeril’s suggestion that all composers battling with depression fear how it will impact their work if they are treated. In my discussion with creatives, I’ve come to learn that when you are in the grips of a major depressive episode, you may not be able to work at all. Indeed, those I know who are really dealing with depression don’t toy with it: they fear it as an unwelcome and unbidden visitor.
The notion that depression (or addiction) is a little seasoning to our creative juices is a pernicious one that has caused a lot of self-inflicted wounds by artists. Going after “dark moments” to spur your creativity, which is what is described in the article, is very different from experiencing brain chemistry gone haywire and completely out of your control. Having worked with blocked composers who deal with severe emotional issues, I can only hope that Mr. Makan doesn’t try and share this tidbit of “method acting” with his students.
I also steadfastly reject the notion that composers are inevitably reflecting their emotional life in their music. Some of Mozart’s most joyful works are written from the depths of mourning. It is a romantic notion, but it just doesn’t hold up for everyone. Keeril is free to explore his dark materials, but I’d urge other composers not to feel compelled to “emote all their notes.”
(Note: an abridged version of the commentary above appeared on the NYT blog here).
Q2, The online “Living Music, Living Composers” arm of New York’s classical radio station WQXR (105.9 FM) is requesting some feedback from its listeners. Their Listener Survey (available online here), subtitled “Help Us Serve You!”, provides Q2 listeners with an opportunity to let the station know what’s working and what you would like to see changed. Please take a few minutes and let the good folks at Q2 know that you’re out there listening with discerning ears and an appetite for more contemporary classical listening fare.
It is a bit of a dreary looking day in New York. One way to enliven one’s spirits: a free concert after work! Translatlantic Ensemble, which features clarinetist Mariam Adam (also of Imani Winds) and pianist Evelyn Ulex, will be performing at Steinway Hall tonight at 7 PM (doors open at 6:30).
The program will include music from Transatlantic Ensemble’s new CD, Crossing America (Eroica JDT 3469).including works by Paquito D’Rivera and Jeff Scott. After the hour long concert concludes, meet the artists at a reception. New music in a lovely setting and a free nosh afterwards? Sounds like a cure for January Monday blahs.
Tonight at 7:30 at Le Poisson Rouge, cellist Fred Sherry, soprano Tony Arnold, pianist Ursula Oppens, and several other estimable performers known for their interpretations of Elliott Carter’s music join Ensemble LPR to celebrate and remember the composer. The program includes the song cycle Tempo e Tempi and the Quintet for Piano and Strings.
David T. Little’s opera Dog Days got a lot of buzz for its 2012 production in Montclair, NJ. Little’s 2006 opera Soldier Songs will be presented tonight through 1/18 as part of the Prototype showcase of recent operas.
Brooklyn Veganhas an interview with Little here. Also check out the embedded video trailer below.
Celebrating twenty years together, Low releases The Invisible Way, their tenth album on March 19th via Sub Pop. Check out (and download) album track “Just Make it Stop” via the embed below. Mid tempo, but given the band’s slowcore pedigree, the cut sounds positively buoyant!