Archive for the “Contemporary Classical” Category
Drummer, composer, and web radio star Chris Cutler
Radio Web MACBA is a radiophonic project from the Museu d’Art Contemporani de Barcelona (MACBA) website that explores the possibilities of the internet and radio as spaces of synthesis and exhibition. The programs are available on demand, and as a podcast subscription.
Beginning with a program called Probes #1, drummer extraordinaire Chris Cutler (one of the founding members of the legendary band Henry Cow) examines the side-effects of the collapse of tonality in the 20th century, and intriguingly addresses the idea of Western music notation and modern recording as “memory technology.” As Cutler explains, “Different forms of memory will engender different forms of music.”
“In the late nineteenth century two facts conspired to change the face of music: the collapse of common practice tonality (which overturned the certainties underpinning the world of Art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the world of popular music). A tidal wave of probes and experiments into new musical resources and new organizational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new aesthetics able to follow sound and its manipulations beyond the narrow confines of ‘music’.”
“This series tries analytically to trace and explain these developments, and to show how, and why, both musical and post-musical genres take the forms they do. This first program sets the scene and investigates early reconsiderations of pitch: probes that postulate new scales to be constructed through the ever-greater subdivision of the inherited intervals of equal temperament.”
Probes #1 is a fascinating podcast, just one of several on the RWM website. Special thanks to composer and sound artist Douglas Henderson for bringing this site and Culter’s podcasts to my attention.
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From Friday 2 PM to Saturday 2 PM (EST), broadcaster Marvin Rosen will be hosting “Viva 21st Century,” a marathon of recent classical music on Princeton’s WPRB 103.3 FM (also on the web at www.wprb.com). The broadcast will include over eighty composers.
Marvin has informed me that my “Gilgamesh Suite EP” (out now on BandCamp) will be featured sometime between 7 and 9 PM on Friday.
More details below.
Viva 21st Century
Classical Discoveries will present the 10th Annual program and the 6th 24-Hour Marathon totally devoted to music composed in the 21st century.
VIVA 21ST CENTURY – INTERNATIONAL EDITION
24-HOUR LIVE WPRB RADIO BROADCAST with Marvin Rosen
starts: Friday, December 28, 2012 – 2:00pm
ends: Saturday, December 29, 2012 – 2:00pm.
Approximately 80 composers will have their works aired during this marathon.
Milosz Bembinow, Thomas Blomenkamp, Sylvie Bodorova,Christian Carey, Jennifer Castellano, Daniel Dorff, Hugues Dufourt, Rosemary Duxbury, Ivan Erod, Vladimir Godar, Ola Gjeilo, Jennifer Higdon, Matthew Hindson, Mary Ann Joyce-Walter, Lei Liang, Michel Lysight, Peter Machajdik, Franco Antonio Mirenzi, Andrew Rudin, Carl Ruttl, Somei Satoh, Ravi Shankar, Ylva Skog, Allan Stephenson, John Tavener, Giel Vleggaar, Joelle Wallach and many, many others.
For Internet listeners link to excellent Time Zone Converter: http://www.timezoneconverter.com/cgi-bin/tzc.tzc
Facebook event page here: RSVP and invite your friends!
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Posted by Chris Becker in Broadcast, Classical Music, Composers, Contemporary Classical, Experimental Music, Houston, Radio, tags: Chris Becker, Composer Talk, Hsin-Jung Tsai, KTRU, Paul Connolly, Scordatura, Thomas Helton
(“Composer Talk” co-hosts Chris Becker and Hsin-Jung Tsai with Trio Oriens)
Some of you may remember that a little over two years ago I relocated from New York City to Houston, TX. Since then, I have been enjoying what is truly a lively and diverse music and arts scene (clap, clap, clap, clap) “deep in the heart of Texas!” This past year in particular has been especially stimulating and busy for me as a composer, performer, writer, and DJ.
Yes, DJ. As in radio DJ. As in, “Tune in Saturday, December 29th, 2012, 4:30 p.m. to 7:00 PM central time for Composer Talk at 90.1 HD2 KPFT and streaming live on the web at ktru.org!”
“Composer Talk” is a spin-off of KTRU’s contemporary music program Scordatura which airs Saturdays from 2:00 PM to 7:00 PM CT. The current Scordatura hosts include composer Paul Connolly, bassist and composer Thomas Helton, and pianist and composer Hsin-Jung Tsai. Awhile back, Hsin-Jung interviewed me for an edition of Scordatura, and she and I had so much fun talking about music that we decided to make it a regular thing. Hence, “Composer Talk,” a monthly radio show that features the two of us playing recordings of and talking about contemporary music. Just music and talk, you know, no big whoop.
For each edition of “Composer Talk,” Hsin-Jung and I bring in whatever music we think needs to be shared with the world that month (we always bring more music than we have time to play) and just let it roll. There’s no script. We play raw recordings of premier performances, unreleased recordings by friends far and wide, deep vinyl cuts, and CDs that come to us from great independent labels including Innova, New Amsterdam Records, American Modern Recordings, Cantaloupe Music, and many others.
We’ve had the pleasure of interviewing guest artists in the studio for “Composer Talk,” including Houston’s own Trio Oriens, marimba player Wei-Chen Lin, composer Joseph Phillips, and pianist Robert Boston.
Some of our listeners enjoy just checking in for a few minutes at a time, while others let the show play in its entirety. Unfortunately, the show isn’t archived, so any unplanned alchemy that happens only happens once, kind of like music: ephemeral and (we hope) fun.
“Composer Talk” airs this Saturday, December 29th, 4:30 p.m. to 7:00 p.m. (Central Time) in high definition at 90.1 HD2 KPFT and streaming live on the web at www.ktru.org.
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This month at the Poisson Rouge, pianist Bruce Brubaker and violist Nadia Sirota performed music by Philip Glass and Nico Muhly. Both musicians are extremely versatile, and talented within their instruments’ traditional classical genre. Additionally, both are strong proponents of some of the most intriguing music of today: the kind of music that is based on the classical concept of composition and music notation, but is less dependent on note-perfect execution for a positive outcome. Both musicians are great communicators. “The freedom that goes along with this music,” marvels Brubaker, “where the process is such an integral part of its formulation is also inspiring and encourages different acceptance of it. It has its pulse on the now — a moment in time that’s very powerful, in a kind of formulation of Zeitgeist.” He continues: “Part of what gives Nico a perhaps unprecedented wide musical reach, gives him a unique standing in the music world.” Possessing reach and versatility, Muhly’s arrangements for the Pop scene and movie soundtracks have brought his scores from Pop Icons like Bjork and Grizzly Bear, to the Metropolitan Opera, Alice Tully Hall, and beyond.
Brubaker just recorded Drones with Nico in Iceland on the Bedroom-Community label: a 2010 commission by the Irving S. Gilmore International Keyboard Festival. The album includes Drones & piano, Drones & viola, and Drones & violin, performed by Brubaker, Sirota, and Pekka Kuusisto along with Nico Muhly and mixed by Valgeir Sigurðsson & Paul Evans, who is also the producer. In his liner notes to Drones, Muhly describes “developing harmonic ideas over a static structure,” indicating that, “the idea is something not unlike singing along with one’s vacuum cleaner.”
Sirota, a long time collaborator and close personal friend of Muhly’s, says: “Drones evolved around a series of pieces for Viola and electronics, me droning my phone number over and over which became the Etude No.2, the first of his drone pieces. Many drone pieces were packed together in pre-recorded sound that is deeply textured and shows, (this is according to Brubaker now) very clearly the great impact Valgeir had on Nico’s work. It exploded with texture and became really three-dimensional.”
Photo:copyright Stern Weber Studio / Bruce Brubaker and Nadia Sirota at lePoisson Rouge
Brubaker explains: “Nico made an original electronic backtrack, but what you hear on the recording is quite different. It sounded even more layered. But that’s the exciting process of working with a living composer like Nico – the recording is not anymore the definitive version, neither is the performance. Music becomes much more alive, in the moment. Perhaps best compared with the times of composers like Mozart, Bach, Monteverdi…who wrote a piece for orchestra, but different instruments performed it over time, so the piece became a different piece each time.” Read the rest of this entry »
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The world has reached a sad state when our individual and institutional worth is measured by how many people like us on a social media web site. But, alas, these are modern times and in the spirit of getting with the program, we have created a Sequenza 21 Facebook page where we are cheerfully posting and reposting daily the new music community’s responses to the relevant news and happenings of the day. You might say that making Mark Zuckerberg richer and more devious on the slippery slope of privacy rights has become a passion of ours. If they can now x-ray your privates as you pass through airport security, what else do we have to lose?
But I digress. Right now on the Sequenza21 page, you’ll find many of the obits, tributes, and reflections on the passing of Dave Brubeck and Jonathan Harvey, as well as samples of works completed and started, favorite YouTube videos, and the usual bitches and moans about the sorry state of the classical music business. We’d love to have you join us. We might even report your latest concert or CD announcement. Come on over.
And don’t forget to hit the “Like” button.
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What becomes a legend most? Well, in the case of two legends–director/designer Robert Wilson and composer Philip Glass, an international tour of their first and most famous of their five collaborations, EINSTEIN ON THE BEACH (1975-76 ), which began in Ann Arbor, Michigan in January ’12, goes on to Amsterdam in Jan’ 13., and ends in Hong Kong in Mar’13. But there’s an irony. The piece “that broke all the rules of opera “– there’s no story, and certainly no star-crossed lovers, murder, or even betrayal — is an endeavor on a par with the scale, ambition, and wor force of 65, onstage and off , a standard repertory work, with–according to lighting supervisor John Torres–800 cues, with about 75 each for its Dance 1 and Dance 2. And its incarnation at BAM’s Howard Gilman Opera House, UC Berkeley’s Zellerbach Hall, and Mexico City’s Palacio De Bellas Artes was the product of 4-5 days of technical– each scenic element and the actors and dancers are lit separately–and cast rehearsals, with about a week’s lodging for all at each stop. But did EINSTEIN exceed or even live up to its reputation as a seminal work of 2oth century music theatre? Judged by what I saw in New York and Berkeley, it clearly did, and it also drove home the simple fact that seeing it with others in a darkened theatre is a far more complete experience than hearing it at home alone on even the best sound system, and I’ve listened to both its original 1979 Tomato LP recording and its 1993 Nonesuch CD set many times over the years. But let’s face it . Music is as confrontational as anything else. It’s like meeting someone online. They may e-mail in a certain tone of voice, and may come at you differently if you speak on the phone, but encounters face to face are a different thing. It’s no longer an invention, but something implausibly real.
And much of EINSTEIN does seem implausible. Is the Train which inches forward and back in Train One to Glass’ rapidly shifting and rapidly modulating music really the Night Train and a Building–based on the Holland Tunnel–and is the white toy plane slowly gong up across the screen the one that triggers the final scene–The Spaceship–which seems to be about nuclear catastrophe? And are the two largely immbile and hieratic trials about something more than their exquisite tableaux looks? Glass has said that what you see is all–”that’s it” –while Wilson says ” Here, it’s a work where you go and can get lost. That’s the idea. It’s like a good novel. You don’t have to understand anything. ” One can easily come up on the side of either Glass or Wilson, but that’s not the point, and it certainly isn’t the matter because EINSTEIN is something to be encountered live. And it felt live in entirely different ways at BAM — where I was seated in Row L Orchestra Rt and at Zellerbach where I was seated Row L Orchestra Left with my friends Amy and Jeff. The full bore purity of the sound with large banks of black speaker monitors at the Gilman, and the thicker, sometimes muddled sound in the Art Brut concrete interior of Zellerbach which paradoxically allowed the music’s different lines with their combination tones to come through loud and clear. And the images were just as astonishing each time. The dancers leaping from behind the masked proscenium at The Gilman, and from the black curtained flies in Zellerbach. The Trial which looked even more epic and inscrutable at Zellerbach, and felt different too. Was it the wedding reception and cake for my actress friend Sophia Holman and her husband Nick Ellsberg the night before and not enough Juniors coffee that made me feel that Glass’ colors in Trial One–which he lays down as methodically but inelectably as Schonberg in ”Farben ” in Funf Stucke Fur Orchester (1905 ) , was too little, too long, but felt just right here? But then, how long is long and how short is long?
Or maybe my response to Trail and other parts of EINSTEIN has more to do with what Glass experienced with his perception of what he did in his score for Mabou Mines 1965 production of Beckett’s PLAY ( COMODIE ) where the “quickening ” he felt was in a different place each tiime. And EINSTEIN. if it’s about anything, is about our experience of space , or time in different times when we experience ourselves and time in a fresh way. Time in the moment stilled, or perhaps open to another space, and time, in this present time. And I think if EINSTEIN questions anything, it’s this. Forget the critics saying EINSTEIN’s the new Wagnerian Gesamtkunstwerk. It ain’t . It’s just “very fresh and clean. ” An eternal Gertrude Steinian “continuous present” in which nothing external obtrudes.
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On Saturday, December 15th, 2012 at 7 pm, The Arthur Rubinstein International Music Foundation will present their Zankel Hall at Carnegie Hall recital, in honor of the greatest Golden Age pianists – Arthur Rubinstein.
Pianist Roman Rabinovich is one of the two pianists chosen to perform at the event, the other being Anna Fedorova. Each musician possesses special qualities within their craft, and together they will certainly present a memorial worthy of the great master pianist, Arthur Rubinstein.
The evening will also feature a short documentary film about Rubinstein’s historical concert in San Francisco in 1945, and an exhibition of portraits and photographs of Rubinstein, partially from his daughter Eva’s personal collection. The foundation’s music festival in Poland was started 2008 in Lodz, Rubinstein’s birthplace.
Rabinovich, who, as a winner of the 2008 Arthur Rubinstein International Piano Competition (not related to the aforementioned hosting organization)has performed widely in Israel, but also in Europe and the US to much critical acclaim, was given the opportunity to choose a program he is especially fond of. He enthusiastically shared with me that Prokofiev’s ‘Romeo and Juliet’ (three pieces), and the Ravel/Rabinovich ‘Daphnis and Chloe,’ as well as Stravinsky’s ‘Petrushka’ that will follow his programmed Haydn Sonata in A-flat major, Hob.XVI/46, have captured his mind’s eye for quite some time now. Read the rest of this entry »
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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.