Holly Twyford in Sounding Beckett. Photo: Jeremy Tressler.
Three of Samuel Beckett’s late one-act plays (from his “ghost period”) are the source material for Sounding Beckett, an interdisciplinary collaboration that is entering its second (and final) weekend of New York performances at Classic Stage Company on September 21-23.Theatre director Joy Zinoman has enlisted a fine cast of actors and resourceful design team, Cygnus Ensemble directed by guitarist William Anderson, and composers Laura Kaminsky, John Halle, Laura Schwendinger, Scott Johnson, David Glaser, and Chester Biscardi to create a production that is both respectful of the playwright’s work and imaginative in its incorporation of music.
Beckett was quite specific about what sounds and music are to be added to his plays: one can’t just insert incidental music willy-nilly without running afoul of his estate.Sounding Beckett avoids this pitfall, instead allowing composers to have the last word: after the actors have left the stage. Each of the plays - Footfalls, Ohio Impromptu, and Catastrophe – has been supplied with a musical “response” by two different composers. A composition is played directly after the performance of each play (the “cast” of composers rotates. This past Sunday afternoon, the show I attended featured music by Schwendinger, Halle, and Kaminsky).
In a talkback after Sunday’s performance, Schwendinger underscored that the pieces we heard were meant as musical responses to the plays: not necessarily programmatic outlines or storytelling. Thus, her piece responded to the strong emotions churning under the surface of Footfalls with sustained passages of controlled, but angst-imbued dissonance. After seeing actor Holly Twyford’s simmering performance in the play, one could readily understand Schwendinger’s poignant, elegantly crafted response.
Halle’s piece after “Ohio Impromptu” featured a more effusive language, with arcing lines surging towards, but never quite reaching, a place of closure and repose. Again, while not mimicking the action on the stage, his music seemed like a kindred spirit to Ted van Griethuysen’s mellifluous reading of a tragic story of love lost; it also resonated with the silent, but facially expressive, performance of actor Philip Goodwin. I was also quite taken with Kaminsky’s composition, which nimbly captured the emotional content portrayed by Catastrophe’s three disparate characters.
Cygnus Ensemble (Anderson, guitarist Oren Fader, flutist Tara-Helen O’Connor, oboist James Austin Smith, violinist Pauline Kim, and cellist Chris Gross) were impressively well-prepared; they performed all of the compositions with top notch musicality. Anderson, a composer himself, has supplied a multifaceted overture and economical music for scene changes. His work draws upon the sound world of modern classical music in a way that is simpatico to the compositions of the featured composers, while also referencing the type of incidental music one hears in current productions of plays in New York. If Anderson needs another hat to wear, he might consider creating incidental music for more plays!
SOUNDING BECKETT will perform Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m. from September 21 to 23. Tickets are $50 and $75 and go on sale starting July 20. Tickets can be purchased by calling Ovation Tix at 866-811-4111 or on online at www.soundingbeckett.com
Earlier today, Kyle Gann reported on his blog that composer, educator, and writer William Duckworth has succumbed to pancreatic cancer. He was 69. Tom Huizenga has more over at NPR Classical.
I’ve long been an admirer of Bill’s music and writings. After a colleague mentioned his illness to me, I corresponded with him a few months ago, letting him know how helpful his book Talking Music was to my students and mentioning a former student we both had in common (Ashi Day). Bill was very gracious. I’m pleased to have told him before his passing about the great value of his work to young musicians, composers in particular.
One of the ways I’ll commemorate Duckworth’s life is by spending time with two of his best works; the first, the aforementioned book, Talking Music, a collection of interviews with composers that sets the bar high for such volumes. The other, Andy Lee’s recording of Time Curve Preludes (available via Irritable Hedgehog).
Norman Lebrecht broke this story earlier today. I wrote the letter below to the New York Times this afternoon. I hope others will follow suit and ask for Allan Kozinn to be reinstated as music critic. Letters may be directed to the attention of Jon Landman.
Letters to the Editor
The New York Times
620 Eighth Avenue
New York, NY 10018
I am writing to express my disappointment at learning that Allan Kozinn has been removed from the position of music critic and reassigned to the culture desk at the New York Times. Since his arrival at the Times in 1977, Kozinn has been one of the hardest working writers on music that the paper has ever had. Moreover, he is one of very few writers on contemporary classical music who has the knowledge and expertise to explain the inspiration for and intricacies of a wide variety of newer repertoire. Never hectoring or obligating listeners to expand their comfort zones, he effectively communicates why they should engage with the music of our time. It would be a great loss for the paper and many of its current and future readers if Mr. Kozinn were not allowed to do what he does best: write about music.
Assistant Professor of Music, Rider University
Managing Editor, Sequenza 21 (www.sequenza21.com)
I’ve been greatly enjoying Third Coast Percussion’s new CD/DVD release on Mode. John Cage: The Works for Percussion 2 captures some of Cage’s early music in which he assisted both in the development of the percussion ensemble but also formulated a musical aesthetic in which rhythm took primacy over pitch; “noise” became a welcome part of music’s sonic spectrum. Third Coast’s rendition of the Constructions (particularly the First Construction “in Metal”) and their beautifully filmed, lighthearted yet earnestly delivered version of Living Room Music are can’t miss contributions to the spate of Cage releases in his centennial year.
As luck would have it, we still haven’t worked out that “cloned reviewer” thing. On Thursday, August 9th, I’m heading up to the Berkshires to Tanglewood’s Festival of Contemporary Music. Down here in New York at MoMA, Third Coast are the featured performers for the museum’s “John Cage Day.” At 6:30, they will perform a set in the Sculpture Garden that features the New York premiere of Renga: Cage: 100, a group of short (5-7 seconds) pieces commissioned by Third Coast to celebrate the Cage centennial. Works by Augusta Read Thomas, David Smooke, Paul Lansky, and many others are fleetingly featured!
Way back in September, Charles Ives scholar Jan Swafford reported in Slate that the Ives home in Redding, Connecticut, built by the composer and for many years maintained by his family, was up for sale.
As Norman Lebrecht wrote on Monday for his Slipped Disc column on Arts Journal, the house is being eyed by developers and will likely be demolished.
That is, unless someone intervenes and declares it a national landmark; a part of our cultural heritage worth preserving. Getting the attention of a person with clout would help; someone like Connecticut Congressman Jim Himes (119 Cannon House Office Building Washington, D.C. 20515), who represents Redding as part of his congressional district. Or President Obama.
Below we’ve included an embed of Bernard Lin’s petition on Change.org. It needs more than 900 additional signatures. We’re asking Sequenza 21 readers to consider signing and helping get out the word about the petition via social media, email, etc. in hopes that we can in some small way help in the effort to preserve the Ives house in Redding. If you live in Mr. Himes’s district, please consider sending him a letter too!
I’m pleased to announced that I have begun producing episodes of a new music show/podcast called “We Are Not Beethoven”. This is my contribution to NPR music critic Tom Manoff’s new venture, a start-up public radio network called Washington Public Radio.
The goal of “We Are Not Beethoven” is to talk about music like no other music show: evening the playing field of listening to and talking about music by humanizing composers and musicians, disregarding genres and categories, focusing heavily on listening, and confronting the barriers of entry that discourage people from exploring new kinds of music.
You can find a link to the first episode here, and below is a video preview of what I talk about in the first episode:
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 withWuorinen 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!
Our 24 hour news cycle can tend to bombard us information about tragic events. While this can be helpful, it can also become dispiriting and disconcerting.
After news of the shooting in Colorado was announced, I asked Sequenza 21 contributors and community members to share musical excerpts that they find consolatory when a tragedy such as this occurs. Some provided me with video clips via YouTube. Others supplied SoundCloud links to their own pieces, written to respond to the chaos that is all too prevalent in our society.
Contributors: Steve Layton, Judah Adashi, James Stephenson, Rob Deemer, Ken Ueno, Jonathan Palmer Lakeland, James Ilgenfritz, Jerry Bowles, and yours truly. Tracks follow after the page break: Read the rest of this entry »
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!).