Archive for the “Chamber Music” Category
Posted by Jonathan Lakeland in Brooklyn, Chamber Music, Classical Music, Composers Now, Concerts, Contemporary Classical, tags: borromeo, cygnus, elizabeth farnum, kathleen blair, mcmillen, mohammed fairouz, String Quartet
Young composer Mohammed Fairouz is not fooling around. Recently hailed by BBC World News as “one of the most talented composers of his generation,” his music melds Middle-Eastern modes and Western structures. A concert on Thursday evening will center around Fairouz’s compositional output. It is being presented by the Issue Project Room at Our Lady of Lebanon Cathedral and will feature pianists Kathleen Supové, Blair McMillen, and Taka Kigawa, mezzo-soprano Blythe Gaissert, soprano Elizabeth Farnum, the Cygnus Ensemble, and the Borromeo String Quartet in their only New York appearance this season.
This concert will include the New York premiere of Fairouz’s The Named Angels, a new 28-minute work in four movements. The Borromeo String Quartet will be performing this premiere. About this piece, Fairouz says, “The Named Angels refers to those angels that are named and recognized in the Islamic, Christian and Jewish traditions: Michael, Israfel, Gabriel and Azrael. Each of the four movements represents a character portrait of a specific Angel.”
The concert is presented by Issue Project Room at Our Lady of Lebanon Cathedral at 113 Remsen Street in Downtown Brooklyn, just a few blocks from IPR. Tickets are $30, $25 for members and students, available at Issue Project Room’s website.
Comments Off on Fairouz, Borromeo, and More
Tomorrow, October 5, the highly acclaimed Fifth House Ensemble will be in Detroit, MI performing at the Max M. Fisher Music Center as part of the Detroit Symphony Orchestra’s ‘Mix @ the Max’ concert series.
The event is not a traditional concert. It begins at 6 PM with a cocktail and hors d’oevres hour, which sets the mood for a more informal presentation of the evening’s program and creates an opportunity for concertgoers and the performers to mingle before and after the performance.
I got in touch with Fifth House’s flutist, Melissa Snoza, and asked her about the groups experience with these kind of laid back concerts. She told me:
[T]he cocktail format is definitely something we’re familiar with, especially for this show! When we first presented this series in Chicago during the 2009-2010 season, we staged it at SPACE, which is a flexible cabaret-style venue with a bar, tables, and chairs that we could arrange in any format we liked to suit the experience we wanted to create for the evening…We’re a group that really loves to perform in unexpected spaces and to design concert experiences with our audience at the center of our programming, so we’re delighted that the DSO has staged this performance in the same way that we originally conceived it!
The program tomorrow night is called “Black Violet Act 1″, it is a compilation of several pieces from different time periods presented in Fifth House’s famed ‘narrative’ programming style. Among the works on the docket are two by living composers: Jonathan Keren‘s Hungary is Far Away and my colleague Greg Simon‘s Kites at Seal Rock.
If you are in the Detroit area tomorrow, go check out what is sure to be a fantastic evening of mingling and music. Tickets are $25 in advance, $28 at the door and can be purchased here.
Comments Off on Fifth House in the D
Acclaimed and award-winning ‘new music specialist’ Sarah Plum (right) is giving a recital of new works for violin this Friday (Sept. 28th) at 8 PM at the Firehouse Space in Williamsburg, Brooklyn.
Sarah has dedicated her career to performing the works of living composers and establishing meaningful, collaborative relationships with them – a fact highlighted by her recital’s program which includes pieces by Christopher Adler, Christopher Burns, Matthew Burtner, Laurie Schwartz, Mari Takano and Sarah’s longtime collaborator, Sydney Corbett.
I talked to Sarah about Friday’s concert, her career, working in Europe and other topics related to contemporary music on my web-based music show/podcast, We Are Not Beethoven on Washington Public Radio. You can stream/download our conversation here.
Once again, violinist Sarah Plum is giving a recital at the Firehouse Space in Brooklyn this coming Friday at 8 PM. Tickets are $10, and the Firehouse Space is located at 246 Frost Street in Williamsburg, Brooklyn. More information about the event can be found here.
Comments Off on Violinist Sarah Plum at The Firehouse Space
Cellist Mariel Roberts is a rising star in the NYC new music scene. Tomorrow, Sept. 25th, her debut solo album, Nonextraneous Sounds, will be released on the Innova label. The disc features works by five young, super-talented composers, (in program order): Andy Akiho, Sean Friar, Daniel Wohl, Alex Mincek and Tristan Perich. Each of their pieces are very distinct and show off both the cello’s versatility and Mariel’s virtuosity.
I talked to Mariel a couple weeks ago and have just published our conversation as the latest episode of my audio web-series/podcast, “We Are Not Beethoven” on Washington Public Radio. As you’ll hear, Mariel is as charming and articulate an advocate for contemporary music and composers and there is, and there are several fascinating conceptual topics related to the creation and design of Nonextraneous Sounds that are definitely worth your time to explore.
You can stream and/or download my conversation with Mariel Roberts here…
…also, there is a CD release event for Nonextraneous Sounds on Wednesday, September 26th at the Issue Project Room in Brooklyn, follow this link to find more details and ticket information.
Comments Off on Talkin’ about ‘Nonextraneous Sounds’ with cellist Mariel Roberts
Posted by Jonathan Lakeland in Chamber Music, Choral Music, Classical Music, Composers, Conductors, Contemporary Classical, Criticism, Orchestral, Orchestras, Percussion, Performers, Recordings, Review, tags: bevely morgan, buffalo, carl ruggles, judith blegen, michael tilson thomas, philharmonic, ruggles, speculum musicae, tilson thomas
If you were having a conversation with fellow music lovers about the great American composers, Carl Ruggles would not be the first person to come to mind. The “Great American Composer” honor is most often bestowed upon Copland, Ives, or even depending on the company you are with, Bernstein.
Courtesy of SONY Music & Other Minds Records
This is not to say, however, that a popularity contest equates to greatness. An equally adept and creative composer, Carl Ruggles produced a small yet intriguing output of pieces for a variety of ensemble types. It is only fair, then, that when recording the complete works of a lesser known composer such as Ruggles, top-tier musicians should be brought in to lead the process. This recording does not disappoint, and the Buffalo Philharmonic, under the leadership of Michael Tilson Thomas, have produced an earnest and committed recording of Ruggles’ entire catalogue.
Read the rest of this entry »
2 Comments »
On July 22nd via his PostClassic blog, Kyle Gann published a post titled “One Less Critic,” more or less announcing his retirement from music criticism. Writing for nearly thirty years in a number of publications, notably the Village Voice and Chamber Music Magazine, Gann has been a thoughtful, often provoking, and even, occasionally, a polarizing figure in discourse about contemporary classical music. He’s also been active in a number of other activities, first and foremost as an imaginative composer, a professor at Bard College, and a musicologist who’s published articles and books on a wide range of composers, including minimalists, microtonalists, Conlon Nancarrow, and John Cage. His book on Robert Ashley will be published this fall.
In his blog post, Gann writes, “Criticism is a noble profession, or could be if we took it seriously enough and applied rigorous standards to it, but you get pigeonholed as a bystander, someone valued for your perspective on others rather than for your own potential contributions.”
He’s not the first composer/critic to voice these concerns. It’s fair to say that those who write about others’ music potentially imperil their own. One’s advancement in a career as a creative and/or performing artist often involves blunting their candor and, upon occasion, judiciously withholding their opinions, delicacies which a writer (at least, an honest writer) can ill afford.
Certainly, I haven’t always agreed with Gann’s assessment of the musical landscape. In 1997, I first read his essay on 12-tone composers in academia, in which he likened those in grad programs studying with Wuorinen and Carter to be a wasted generation of composers, like lemmings leaping to their (artistic) deaths. At that time, I was a Ph.D. candidate at Rutgers: studying with Wuorinen and writing a dissertation on Carter! I didn’t transfer or change my topic.
That said, I respect Gann’s formidable intellect and, even when it stings a little, his candor. I hope that during his “retirement” from criticism, he will find many new opportunities provided to him as a composer. In the spirit of bygones being bygones, maybe some of them will be in collaboration with ensembles that, back in the day, got a rough review from him!
4 Comments »
The group that helped to start the indie rock plus classical crossover genre, Clogs, doesn’t often make it out to Brooklyn. But, if Monday’s show at Galapagos is any indication, when they visit the borough, the group goes all out.
In addition to selections from Clogs’ previous studio recordings, the concert features “Shady Gully,” a new group of songs written by Padma Newsome. Those in attendance will also get a sneak preview of “2 Moon Shine,” his forthcoming opera project.
Also on the bill is Clogs member Thomas Kozumplik’s project Loop 2.4.3. I’ve been greatly enjoying their latest full length recording American Dreamland (out now via Music Starts from Silence). Kozumplik, joined by Lorne Watson, have created a percussion heavy and somewhat jaundice eyed view of the American dream, referencing everything from Edgar Allen Poe to Easy Rider to urban blight along the way. While the album’s subject matter could easily become a colossal bummer, Loop 2.4.3 creates supple beats and several fetching tunes (the radio ready single “So Strong” noteworthy among them) that make even a dystopian post industrial landscape sound like far better a destination than its likely to be!
A small caveat for fans of the National: guitarist Bryce Dessner is not playing the Galapagos show. Ben Cassoria will take over his duties for the evening (no mean substitute!).
Clogs with Loop 2.4.3
Monday, July 16th
at Galapagos (16 Main St, Dumbo, Brooklyn · 718 222 8500)
Doors 7PM, Show 8PM
Tickets: $15 Advance, $20 At Door
Event link: http://galapagosartspace.com/event/clogs-loop-2-4-3-new-american-and-australian-music
Comments Off on Monday: Clogs and Loop 2.4.3 at Galapagos
Christina Stanley a violinist and vocalist who received her MFA in Music Performance and Literature from Mills College, and her Bachelor of Music degree from San Francisco State University where she received a full performance scholarship and studied violin with Daniel Kobialka, Jassen Toderov and the Alexander String Quartet. She is an active performing violinist, working as as a soloist as well as an ensemble. The composer along with the other members of the Skadi Quartet will perform two new graphic scores to open The Composer’s Muse, the second night of the11th Annual Outsound New Music Summit. Both scores are 40 x 40 oil and charcoal on canvas. One will be played by the full quartet, and the other as a violin and cello duet.
The Composer’s Muse concert will take place onThursday, July 19th at 8:00 p.m. All four nights of the festival will take place at the San Francisco Community Music Center,544 Capp Street, San Francisco. Tickets are available at the door, or online through Brown Paper Tickets. With the festival fast approaching, I was happy Christina had a moment to answer some of my questions.
S21: Your alma mater, Mills College, is well known for creating composer/performers. I’m wondering if in your student years before coming to Mills, if you ever felt pressure to become exclusively a composer, or exclusively a performer?
CS: Yes, I did feel pressure to be exclusively a performer, though I’m not sure it was anyone’s fault other than my own. I wanted to achieve as much as I possibly could as a classical violinist, and learn all the standard repertoire, and as much of the 20th century as I could before moving into the 21st. However, I could never quite shake that I had all this desire inside me to create, and I sometimes wondered If I’d chosen the wrong path, despite the fact that I loved playing violin so intensely and completely. After I finished my undergraduate degree, I moved to new York and was trying to figure out what to do with myself creatively. I was still writing songs, but at that time I also began recording myself playing violin and cello, improvising and relishing the dissonances and harmonies. I was completely thrilled at the possibilities, and knew I would continue composing, though I didn’t know how.
Read the rest of this entry »
Comments Off on Let’s Ask Christina Stanley
We’re pleased to introduce cellist Maya Beiser’s performing the Michael Harrison composition “Just Ancient Loops,” with film by Bill Morrison, which will receive its premiere at the Bang on a Can 25th Anniversary Marathon this coming Sunday in NYC.
This is just one of many performances that will occur over the marathon’s 12 hours of free live music-making: check out the complete schedule online here.
Congrats to the can bangers – may you have many more seasons of marathoning!
Comments Off on Maya Beiser: “Just Ancient Loops” (Video)
Our friends at RCRDLBL
are sharing an MP3 of “Lots” by indie classical composer Dan Deacon
Dan Deacon’s new full length recording, America, is out August 28th via Domino Records.
Comments Off on Dan Deacon shares new MP3 from forthcoming CD