Archive for the “Composers” Category
C4. Photo: Keith Goldstein.
For those of us here in New York and New Jersey, the past few weeks have been challenging. In the wake of Storm Sandy, we trust that better days are yet to come, but the present’s outlook is a bit dodgy. Some forward thinking optimism, particularly of the musical variety, is keenly welcome.
This weekend, C4 Ensemble, a collective of composers, conductors, and singers committed to new music (most wearing multiple hats in terms of their respective roles in the group), presents Music for People Who Like the Future.
Spotlighting the North American premiere of Andrew Hamilton’s Music for People Who Love the Future (hmm… I wonder if this title gave them the idea for the name of the show …), the program also features music by Chen Yi, Michael McGlynn, Sven-David Sandström, Phillipe Hersant, and Ted Hearne along with C4’s own Jonathan David, Mario Gullo, David Harris, and Karen Siegel.
Friday, November 16, 2012
The Church of St. Luke in the Fields
487 Hudson Street, NYC 10014
$15 advance / $25 day of event/ 10 $4 “Rush” admissions 30 minutes advance at the door
Closest Subway: 1 to Christopher Street/Sheridan Square
Saturday, November 17, 2012
Mary Flagler Cary Hall at The DiMenna Center
450 W. 37th Street, NYC 10018
$15 advance / $25 day of event / 10 $4 “Rush” admissions 30 minutes advance at the door
Closest Subways: A/C/E to 34th Street/Penn Station
Reception to follow
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Violinist Mari Kimura has built a career fearlessly taking the violin to places still little-explored. from her work with sub-harmonics (using precise but difficult bowing techniques to obtain notes up to an octave below the normal violin range), to the integration of all manner of digital and electronic interweavings, to playing everything from from the ferociously difficult to the frenzied soaring to the freely improvised, Mari has made her violin sing like few others in our generation.
Likewise for Elliott Sharp and his exploration of the guitar in all its many shape-shifting forms. Elliott has become such a New York institution as to give the Statue of Liberty a run for her money (though to be fair, Lady Liberty doesn’t do too many new-music concerts). Edgy and restless, Sharp’s work attacks a lot of our notions of what a guitar is supposed to do, while always still reminding us of the roots it and we come out of.
These two wonderfully complex performers and creators will be found together on the same bill this Friday, Nov. 16 at 8pm, at Glenn Cornett’s intimate Spectrum concert space on Manhattan’s Lower East Side (121 Ludlow, 2nd Floor, tickets $15 suggested donation).
Mari Kimura will present her recent works using Augmented Violin, IRCAM’s bowing motion sensor technology. Kimura’s Meteo-Hahn is a new work in collaboration with data visualization specialist Bruce Hahn, and is an interactive audio/visual work using weather patterns and data. Her other premiere is Poly-Monologue, a work-in-progress version of her large-scale multimedia project “ONE” which will tour in 2013. In Poly-Monologue Kimura collaborates with singer Kyoko Kitamura; the trilingual (English, French, Japanese) texts and Kitamura’s vocalization interact with Kimura’s Augmented Violin. Kimura will also perform works by François Sarhan, an intriguing European composer/theater director/encyclopedist: Un Chevalier (2007) and Oublée (Forgotten, 2012) for solo violin. The works are based on the text by Russian poet Daniil Harms (1905-1942), expressing the pressure on intellectualism during Stalinism.
Elliott Sharp will present Octal, a collection of pieces for the Koll 8-string guitar-bass built exclusively for Sharp. These pieces function somewhere between etudes and jumping-off points for improvised explorations. Not academic, these performances are filled with free-jazz energy and burning bluesy extemporizations using Sharp’s signature extended techniques.
Extra bonus — Kimura and Sharp will also improvise together during the concert. There’s going to be a lot of magic on this bill, and Spectrum is a wonderfully homey and intimate place to catch a concert. So if at all possible head on over and treat yourself to some musical bliss.
An evening of chamber music by Beth Anderson will be presented this Saturday, November 17 – 7:00 PM, at St. John’s Episcopal Church, 139 St. John’s Place in Park Slope, Brooklyn.
Flute and piano works to be performed are The Bluebird and the Preying Mantis, Dr. Blood’s Mermaid Lullaby, September Swale and Kummi Dance. The program also includes her Eighth Ancestor and Skate Suite for baroque flute, alto recorder, cello and harpsichord.
Performers will be the composer on piano and Brooklyn Baroque – Andrew Bolotowsky, baroque flute, David Bakamijan, cello, Gregory Bynum, alto recorder and Rebecca Pechefsky, harpsichord.
This concert is free and open to the public, however a free will offering will be taken to support the replacement of the church boiler. For directions to St. John’s Church and more information about the concert, call 718-636-6010 or visit http://www.facebook.com/ConcertsOnTheSlope.
The Bluebird and the Preying Mantis is the first piece Ms. Anderson composed for Andrew Bolotowsky, from about 1979. He’s the bluebird. The accompaniment is the mantis. She writes about Dr. Blood’s Mermaid Lullaby, “One night I had a very bad dream about Dr. Blood stealing my blood. I woke up and wrote what felt like the antidote to this dream – a kind of underwater lullaby with mermaids and a music box. Since the imaginary Dr. Blood was the “cause” of the dream, I gave him credit in the title. I felt much better afterwards.”
September Swale (seen above) combines various oriental scales with Satie-like lyricism and was premiered in Ghent, Belgium. Kummi Dance (in this version for flute & piano), was commissioned by String Poet and based on the poem of the same name by Pramila Venkateswaran.
Beth writes, “The Eighth Ancestor is a character that I read about in a zen book entitled Selling Water By The River. This ancestor’s message is that it does no good to be angry. The music, in an attempt to reflect this message, is not angry music. It resembles a lullaby and a hora…Skate Suite was commissioned by Diane Jacobowitz & Dancers. The dance was related to skating in some way and so I used that idea to compose the music.”
Visit Beth’s YouTube channel at http://www.youtube.com/user/135east?feature=mhee#g/f. For more information about her, including a bio, list of works, discography and much more, please visit http://www.beand.com.
Superstorm Sandy wreaked a fair amount of havoc on a lot of concert schedules, but things are starting to return to something resembling normal. One quick shout-out I’d like to pass along is a performance this coming Sunday, Nov. 11, by the really wonderful violinist/violist Karen Bentley Pollick.
Usually found at home in the mountains of Colorado, Karen’s coming to Brooklyn to give a concert of lots of pretty recent music — including the premiere of former Brooklynite and S21 composer/webmaster Jeff Harrington’s Grand Tango for violin with video. Jeff’s been living in France for a couple years now, and it’s good to see his work find its way back here.
Also on the bill is Seattle composer Nat Evans’s and video artist Erin Elyse Burns’s desertscape Heat Whispers; New York composer Stuart Diamond’s prismatic video that he created for his 1974 Baroque Fantasy for violin, a work championed by the late Max Polikoff. New York video artist Sheri Wills‘s videos are featured in Sapphire for violin and electronics (2010) by New York composer Preston Stahly; Dilemma for viola (1987) by Czech composer Jan Jirásek; The Red Curtain Dance for viola (2003) and Letter to Avigdor for violin (1990) by Israeli American composer Ofer Ben-Amots; and Metaman for violin with digital sound & video (2009) by Rome Prize winner Charles Norman Mason.
It’s an afternoon concert, 3:00 pm at the Firehouse Space (246 Frost Street in Brooklyn, New York). Tickets are only $10 at the door — so if you need a break from all that’s been happening, and wouldn’t mind hearing a concert filled with fantastic playing and tons of music you’ve likely never heard before, head on over.
And for my Seattle friends, Karen will be doing the concert Nov. 16 at the Chapel of Good Shepherd Center, and then Dec. 14-15 in San Francisco at Theater Artaud Z Space.
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Another composer interview from our favorite “reporter-at-large-when-she-isn’t-being-a-famed-virtuoso”, Hilary Hahn as part of her “In 27 Pieces: The Hilary Hahn Encores” series. This time it’s a chat with Indian composer/violinist Kala Ramnath, about her encore piece that Hilary will perform in a concert this coming January:
By now, I imagine most everyone in Sequenza21′s audience has learned that Elliott Carter passed away yesterday at the age of 103. Basically every news outlet covering music has already run a retrospective on Carter (except for Sequenza21, ironically). I don’t exactly intend to add to the din of the New York Times‘, Alex Ross‘, or NPR‘s or whomever-your-music-writer-of-choice’s reflections on Carter, but, as a community of composers and thoughtful listeners, whose tastes either align with Carter’s work or the music that was influenced by or reacted against him, we can honor his fresh memory by sharing our experiences with his music and/or person.
Being the youngest of Sequenza21′s contributing editors, I have considered Carter a legendary individual – more a figure of history than flesh and blood – for a long time. But, discovering the news of Carter’s passing last night, I realized that I’ve had many personal and poignant interactions with Carter’s music that make him much more important to me and my experience than I had previously thought.
I saw Carter’s music performed four times, which isn’t all that impressive; yet, the performances are among the most vivid concert memories I have. The most recent was at a recital of Houston-based Fischer Duo in February of this year, where they played Carter’s Cell Sonata from 1948. The Duo’s cellist, Norman Fischer, explained excellently how the work represents the crystallization of Carter’s decisively complex and idiosyncratic musical vocabulary, and I remember thinking how convincingly the piece demonstrated the beauty of Carter’s compositional sensibility.
I had the same reaction to the second Carter concert I attended. This was a performance in Houston by the Pacifica Quartet in 2009 where they did the first and last Carter Quartets. To be honest, I don’t remember much about String Quartet no. 1, but I will never forget how beautiful I thought String Quartet no. 5 was. A couple of years passed before I listened to that piece again and I remember being surprised at how the striking eloquence of the work’s slow sections emerged at no cost to the intensity of the more energetic material in the piece. In other words, it was clear that Carter had not softened at all in his advanced age, something many people have asserted in their recollections of him and his music.
The last two concerts I attended with Carter’s music on the program are memorable because of the people I knew personally who were involved in the event. The first I will discuss was a 2009 performance of Carter’s second quartet by a group led by my good friend from Rice University and a new member of ETHEL, Tema Watstein. Her quartet’s performance was valiant and effective, though the overwhelming challenge of the work was certainly palpable in the recital hall. I remember talking to her as they prepared the piece, possibly helping her tape photocopies of the score to big pieces of cardboard so she could play off the score, and being taken aback by her and her quartet-mates’ dedication to the piece. This belief in the music was a gripping presence during their ultimate performance, and, as a composer, I will always applaud Carter for being able to inspire such dedication in those who perform his music while forcing them to confront so demanding a terrain of musical ideas.
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The critically-acclaimed Palisades Virtuosi presents a very special 10th Anniversary Concert - the first concert of their 2012-2013 season on Friday, November 9 – 8:00 PM at the Unitarian Society of Ridgewood, 113 Cottage Place in Ridgewood, New Jersey. The evening will also include a pre-concert composer and performer talk at 7:15.
Flutist Margaret Swinchoski, clarinetist Donald Mokrynski and pianist Ron Levy began their series of concerts in Ridgewood, New Jersey in 2003, when there were relatively few works composed for their instrumentation. So, their “Mission to Commission” was born. 10 seasons later, there are an additional 60 works of concert repertoire for their ensemble as a direct result of their mission. They include a commissioned work in each of their concerts.
Composers who have written for the group include Eric Ewazen, Carlos Franzetti, Paul Moravec, Melinda Wagner, Gwyneth Walker and Lee Hoiby. See the complete list at http://www.palisadesvirtuosi.org/pvcomposers.html.
November 9 concert repertoire will include the World Premiere of composer Jeff Scott’s Poem for a Lost King, commissioned by The Palisades Virtuosi.
Composer Jeff Scott
The composer writes, “Lost King is a musical poem that has been written as a metaphorical homage to the countless African kings, chiefs and village elders expelled and abducted from their homeland during the middle passage.” Visit Jeff Scott at http://www.imaniwinds.com/artist.php?view=bio&bid=1941.
Repertoire will also include Franz Danzi’s Sinfonia Concertante, Maurice Emmanuel’s Sonate and PV’s first commissioned work Lep-i-dop-ter-o-lo-gy  by Aaron Grad.
Tickets for the November 9 concert are $20, $15 for students and seniors and $10 for children age 12 and under. For tickets or more information, call 201-488-4983, visit http://www.brownpapertickets.com/event/286276 or email reservation requests to the Palisades Virtuosi at firstname.lastname@example.org. For directions, go to this link.
Volumes One, Two, Three and Four of the Virtuosi’s New American Masters CD series are available from Albany Records.
…and the results were not good… One of the brightest small labels for new music in the last 4-5 years has been NYC’s New Amsterdam Records. Founded by Judd Greenstein, Sarah Kirkland Snider, and William Brittelle, its catalog is full of some of the best young, fresh composers working today, performed by a bevy of equally fresh & talented players. This label has quickly risen to the forefront in capturing and disseminating the newer American scene.
All of that hard work has unfortunately just gotten a lot harder; Their offices are in the Redhook area of New York City, and weren’t dealt kindly with by Hurricane Sandy. As Sarah Kirkland Snider writes on her Facebook page:
Our new New Amsterdam HQ in Red Hook was totaled by Sandy. The water mark is over 4′. We had moved much of the office to higher ground prior to the storm, and elevated everything else, but we still lost all files/paperwork, a hard drive, some furniture, vintage synthesizers and music gear, and most of our CD stock. Our landlord does not have flooding insurance, and our attempts to acquire it before the storm were denied. There is some talk of FEMA helping uninsured Red Hook businesses, but that seems like a long shot. Stunned and heavy-hearted we are.
Truly a catastrophe for a small company like this… Clean-up and picking through has begun, but they’re certainly going to need a lot of help to get back to a point where they can continue the outstanding service they’ve done to new music listeners, performers and composers alike. Nothing is set yet, but at the very least you can “like” their Facebook page to show your support, and to stay aware of any coming requests for help, donations, or benefits.
New Amsterdam is truly a treasure, and we’re absolutely rooting for a comeback.
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Posted by George Grella in Composers, Concert review, Conductors, Contemporary Classical, Criticism, Festivals, Orchestral, Twentieth Century Composer, tags: Christian Marclay, John Cage, Joseph Kubera, Orchestra of the S.E.M. Ensemble, Petr Kotik, Ursula Oppens
Just before intermission of the opening concert of the Beyond Cage Festival on October 22, I pulled out my iPhone to see if the Giants were beating the Cardinals for the National League Pennant, and was disoriented to see that it was 9:49pm. It seemed like there must have been a massive network malfunction, because the extraordinary performance of Atlas Ecpliticalis with Winter Music that I and the rest of the audience had fervently applauded could not possibly have gone on for an hour and forty-five minutes. The duration had felt assuredly like a leisurely performance of an early Romantic symphony, say the Beethoven Pastorale, something that was stimulating and enveloping but that never demanded a hint of endurance from the ear or mind.
But it was so, Petr Kotik had just led the Orchestra of the S.E.M. Ensemble, with Joe Kubera and Ursula Oppens simultaneously playing Winter Music, in almost two hours of some of the most resolutely avant-garde music, and the listening experience was such that the sensation of time was lost completely inside the performance. The extraordinary became the unbelievable.
Kotik had already presented this piece twenty years ago, in a historic concert that became a memorial to the recently deceased composer. And he and the ensemble have recorded it twice, on a recently reissued Wergo album and a great and unfortunately out of print Asphodel release, and these are not only the two finest recordings of Atlas but also two of the finest recordings of Cage’s music available. But the concert exceeded these, reflecting the understanding of such a profound work of art that can only come through time spent examining and thinking about it.
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Posted by Marc Ostrow in Composers, Copyright, tags: Bach, blues, CBS Sunday Morning, chord progressions, composition, copyright, fact checkers, fair use, first amendment, performance, Presidential debates, Reich, rhythm changes, Sen. Moynihan, sonata form, Vivaldi
“You are entitled to your own opinion, but you are not entitled to your own facts.”
- Sen. Daniel Patrick Moynihan
For the past several election cycles, a cottage industry of fact-checkers emerges from their pumpkin patches each fall to assess the credibility of candidates’ claims. One of most-quoted of these, FactCheck.org, is affiliated with my alma mater. These groups’ findings are not only cited by the media but are also used by partisans of both Presidential candidates. And while neither the press nor the candidates are free to plagiarize the articles produced by fact-checkers, the facts themselves are fair game.
In fact (sorry), it seems fact-checkers have themselves become the story. Yesterday, CBS Sunday Morning dedicated an entire segment to the role of fact checkers. It seems these trufflers of truth have become pawns in the political chess game of electoral politics, with each campaign’s spinmeisters trying to use the checkers to “king” their candidate by persuading the voters that their opinions are facts. In keeping with the non-partisan nature of my posts and this forum, I’ll not comment on which candidate appears to have racked up the most misdemeanors from the fact checkers – but I do have my own opinion!
As it turns out, the late Senator Moynihan is absolutely right from a copyright perspective. Section 102 of the Copyright Act not only states what is subject to copyright, including various forms of musical works and sound recordings, but also sets out many things that are not subject to copyright protection. For example, there is no copyright protection available for any “idea, procedure, process, system, method of operation, concept, principle, or discovery.” And while the statute’s list doesn’t explicitly include facts, the FAQ on the Copyright Office’s web site does state that “[c]opyright does not protect facts…” More importantly, the Supreme Court has said that facts are not copyrightable.
Facts are either ideas or concepts (e.g., 1+1=2) or discoveries (e.g., it’s a fact that the earth revolves around the sun). So, the candidates and their minions, along with the media and everyone else can freely use the findings of fact-checkers as to what a particular candidate said or didn’t say and whether his proposals are better than the other guy’s. As I said in my last post, as with fair use, the exclusion of facts, concepts, discoveries and ideas — as opposed to the individual expression of them, reinforces our First Amendment freedom of speech as nobody can monopolize an idea.
These concepts apply not only to political discourse, but to musical expression, as well. Section 102 states that copyright applies to “original works of authorship.” It is the individual expression of an idea or concept, not the concept itself, that is subject to copyright protection. So, what does this mean in a musical context? Imagine if C.P.E. Bach had been able to get a copyright in sonata form. Or if Bach and Vivaldi had sued each other over the exclusive right to use a circle of fifths?
It would be absurd to think that Jerome Kern couldn’t use that chord progression in “All The Things You Are.” Structural forms (such as a 32-bar AABA song or a 12-bar blues) and chord progressions are among the things that are generally considered to be non-copyrightable concepts or ideas. You’d probably be justified in having the opinion that they’re musical “facts.” Just think of the all the songs and standards written on “blues” or “rhythm” changes. Or consider the thousands of symphonies, concertos and sonatas that use sonata form. Steve Reich has copyrights in his works, “Piano Phase” and “Violin Phase” but he can’t prevent another composer from utilizing phasing techniques in their own works. The same principle would apply to performance techniques: there’s no copyright for wind players playing double stops or practicing circular breathing.
So, feel free to marshal as many facts as you can to support your opinion as to which candidate “won” tonight’s final Presidential debate. Or write and perform a new work on the topic using whatever forms and techniques you like. I only ask that you not post any politically-oriented comments in response to this piece. That said, your opinions as to copyright and music are most welcome, either here or at my web site.
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