Remixers start your … laptops. Some hot-off-the-presses news about a contest beginning at noon TODAY!
Pulitzer Prize–winning composer Steve Reich,Nonesuch Records, and Indaba Musichave launched a search for collaborators to remix the third movement from Reich’s 2×5. Paired with his Pulitzer prizewinning Double Sextet, the work appears on Reich’s new Nonesuch CD.
For four weeks beginning October 12, 2010 at noon, remixers can visit Indaba’s websiteto create their own version of the movement.
From November 9 to 23, fans and a panel of judges including Reich will review the submissions. Winners will be announced on December 7th. In addition to a grand prize and 2 runners-up selected by the jury, 10 honorable mentions will be selected by the public.
All jury selections will receive prizes, as follows:
Grand Prize (1)
Signed copy of Double Sextet/2×5 CD
Signed copy of Double Sextet score
One-year free Platinum membership to Indabamusic.com
Written for the Bang on a Can All Stars, 2×5 is Reich’s most overt foray into rock instrumentation to date. In my preview of the album, I noted that Reich’s collaboration with BoaC was “An intergenerational summit – minimalist elder statesman meets post-minimal/totalist ace performers – that, in terms of importance, is more or less the Downtown version of Duke Ellington and John Coltrane.”
Now, another layer of creators will season the mix – I’m excited to hear the results!
The consistently thought-provoking Kyle Gann has a complaint: “I think young composers might want to think about diversifying the composers they base their styles on beyond John Coolidge Adams.” He gets a lot more promotional CDs than I do from record labels and young composers hoping to lure him out of music-critic retirement to provide that coveted Kyle Gann pull-quote for their bios. (Can I do the heist-movie thing and say they want to get him out of retirement for “one last score”? Too late, I already did.) As I said, I don’t get the same recordings that Kyle gets, but let’s take him at his word and stipulate that an awful lot of the postminimalist composers out there–especially the more successful ones–are writing warmed-over John Adams. I like John Adams as much as the next guy, and I’ve written my share of ersatz Adams, but too many composers hewing too closely to a single model could be cause for concern. When I followed up with Kyle over e-mail, he did say that “a lot of young composers I know don’t sound like Adams at all, but they’re by far the less successful ones,” so what we’re seeing may be more of a skew in economic outcomes than a skew in total underlying populations, but that skew would also be troubling.
I wonder if part of what we’re seeing here is the wages of the stylistic tunnel-vision of the music higher-education system. Read the rest of this entry »
Estonian composer Arvo Pärt turned 75 yesterday. His record label ECM Records is celebrating his three-quarters of a century with two new recordings.
Pärt’s 4th Symphony is a long-anticipated follow-up to his 3rd – which was written back in 1971! In the interim, the composer has moved from a modernist style to an idiosyncratic version of minimalism; one the composer calls the “tintinnabuli” style of composition. From bell-like resonances and slowly moving chant melodies, Pärt has crafted a personal compositional language of considerable appeal. And while this has included a number of stirring instrumental works, such as Tabula Rasa and Cantus in Memory of Benjamin Britten, more recently Pärt has been known for his choral music. His return to symphonic form is thus an opportunity to explore his mature language in a different milieu.
Perhaps in part as an acknowledgement of the home of the orchestra commissioning the Fourth Symphony – the “City of Angels” – Pärt decided to use a text as a formative – if subliminal – device in his preparations of the piece: the Canon of the Guardian Angel. Thus, while this is certainly not merely a transcription of a vocal piece – it sounds idiomatic and well orchestrated – there is a certain chant-like quality which demonstrates the symphony’s affinity with the vocal music and chant texts that are Pärt’s constant companions.
The live recording is of the work’s premiere in Disney Hall in LA. Salonen and the LA Phil give a muscular rendition of the piece, emphasizing its emphatic gestures while still allowing for the symphony’s many reflective, meditative oases to have considerably lustrous resonance. And while one can certainly hear a palpable connection to Pärt’s chant-inspired tintinnabuli pieces, the symphony also allows for dissonant verticals and melodic sweep that recalls both Pärt’s own Third Symphony and the works of other 20th century symphonists, from Gorecki to Shostakovich.
Perhaps in order to clearly attest to the connection between text and symphony, the disc is balanced out with a fifteen-minute serving of fragments from one of his important choral works from the 1990s: Kanon Pokajanen. The composer has pointed out the relationship between the canon that was his reference point for the symphony and the texts upon which the latter choral work was based.
He says, “To my mind, the two works form a stylistic unity and belong together. I wanted to give the words an opportunity to choose their own sound. The result, which even caught me by surprise, was a piece wholly pervaded by this special Slavonic diction found only in church texts. It was the canon that clearly showed me how strongly choice of language preordains a work’s character.”
Kaljuste and the Estonian Chamber Choir are seasoned handlers of Pärt’s works, having made a number of recordings of his music. They do not disappoint here, providing a performance that juxtaposes the ethereal eternity found in the texts with an earthy and corporeally passionate rendering of the music.
In order to further fete Pärt, ECM also plans a lush reissue of their landmark 1984 recording, Tabula Rasa, complete with a generous accompanying book with newly commissioned essays about the composer.
Steve Reich’s latest Nonesuch CD recently arrived, sans artwork in a little cardboard case. The disc features Double Sextet and 2×5, his collaborations with Eighth Blackbird and Bang on a Can. The former piece won the 2009 Pulitzer Prize in Music. The latter is his most explicit use of rock instrumentation to date.
According to the Nonesuch site, it’s still in the “pre-order” phase of activities, so we’ll be good and hold off on a proper review ’til it’s closer to the actual release date (9/14).
Suffice it to say, if you’re a regular visitor to Sequenza 21, you’re likely going to want one, possibly three, copies of this recording. An intergenerational summit – minimalist elder statesman meets post-minimal/totalist ace performers – that, in terms of importance, is more or less the Downtown version of Duke Ellington and John Coltrane.
My graduate history seminar on minimalism starts next week at Westminster Choir College. I’ll be teaching the course in a three-week intensive session – three hours a day/four days a week. In that time – just 12 meetings in all – we need to cover a lot of ground. There are three assigned texts: Minimalism: Origins by Edward Strickland, Repeating Ourselves by Robert Fink, and Music Downtown by Kyle Gann, as well as a number of supplemental readings (lots of Tom Johnson) and listening assignments.
Each student will be required to make a class presentation and write a substantial research paper. Those in the group who like to compose will write a minimal piece for the class to perform. In an exciting development, one of my students, who is a high school choir director, has already been in touch with Terry Riley’s “people” about Another Secret eQuation, his recent choral piece for young people, and will be researching it for her paper.
While I’ve been thinking about and prepping the course for a long while, I’m, of course, curious about what the Sequenza 21 community thinks. What do you consider to be an “all killer/no filler” listening list for graduate students studying minimalism – many of them for the first time. The comments section is open!
By the way, those who are interested may feel free to contact me after the class is over for a set of the handouts/slides.
Not that you need the halls of academia to get this creative; here’s the Hong Kong band RedNoon taking right to the subway:
Just a few weeks after the NYT feature with Stanford, CNN got into the act, also in Hong Kong, interviewing my composer-pal Samson Young about his own iPhone Orchestra. Samson, a Princeton grad student, put together his own performance at the January Hong Kong/Shenzhen Biennale. This one’s my personal favorite:
It may seem very queer, but it’s here — get used to it!
I really enjoyed Q2′s broadcast tonight of New Sounds Live, a concert at Merkin Hall by the Bang on a Can All Stars that featured works by Nik Bartsch, Oscar Bettison, Christine Southworth, Michael Nyman, and David Longstreth. The first in a hopefully ongoing series of collaborations between Q2 and Merkin Hall, it was also a featured event in this week’s Composers Nowfestival.
I particularly enjoyed the Bettison work, The Afflicted Girl, in part because it’s quite affecting; but it also helps that I was able to study in advance and follow along with a perusal score sent over by the kind folks at Boosey. Funded by BoaC’s Peoples’ Commissioning Fund, the piece is what Bettison calls an “anti-pastorale.” Its based on a quote from Peter Ackroyd’s London: the Biography. It describes an afflicted girl frequently found in a busy thoroughfare, seemingly oblivious to the cacophony around her. Or, as in Bettison’s posits in his piece, perhaps she found a kind of music amidst the chaos.
Clangor is Bettison’s daily bread: many of his works employ junk metal percussion. The Afflicted Girl involves copious percussion batteries, prepared piano, a keyboard tuned a quarter tone flat, taped echoes of the ensemble, plenty of electric guitar harmonics, and a Shapey-esque scordatura tuning of the cellos C string – down to G for rumbled slackening. What’s more, all the players double on bicycle bells!
Alternately assaultive and contemplative, rhythmically charged and, briefly, eerily reposeful, its a demanding, challenging, harrowing, and memorable work.
Bang on a Can. Photo: Christine Southworth
Sad you missed out on the Q2 broadcast? Fear not: the performance will be featured on a March broadcast of New Sounds.
Pwyll ap Siônis a composer and Senior Lecturer in music at Bangor University in Wales (UK). His strong interest in Minimalism (he’s written a book on Michael Nyman) led to his co-hosting of the firstInternational Conference on Minimalist Musicin 2007. He also made his way across the ocean for the second iteration of the conference, held last September in Kansas City, MO. Pwyll asked if S21 might like to print a few of his reactions and thoughts from the conference, and we said sure thing:
At the Second International Conference on Minimalist Music last September, hosted by the University of Missouri at Kansas City, part of the evening events led me to the Grace & Holy Trinity Cathedral to hear composer, performer and improviser Charlemagne Palestine. He is something of an enigma; when John Adams attended a rare performance in the 1980s, Palestine walked out after twenty minutes, leaving the audience baffled. Even those who have already seen him have no idea what to expect.
I enter the dim glow of the cathedral and notice two things: first, the sound of a drone — two notes, a fifth apart (a little like La Monte Young’s infamous Composition 1960 No. 7: two notes with the instruction ‘to be held for a long time’). The drone is low in dynamic but high in register, its reedy timbre adding a slight edge to the ambiance, but this is otherwise a rather inauspicious introduction. Secondly, there’s a merry gaggle of teddies and puppets neatly arranged on a table near the entrance, all of which appear to be wearing scarves or ribbons. I am told that this is de rigueur in the eccentric world of Palestine. But nothing quite prepares me for what follows.
We are politely informed that the performance has already begun despite the fact that the audience is milling around, chatting casually or ambling up and down the aisles. The atmosphere is relaxed, however, and we are told that the unpredictable Palestine is (literally) in high spirits, on his second (large) glass of cognac, and has extended an invitation to members of the audience to visit the organ loft situated at the rear of the cathedral. We have to take off our shoes to do this – a complicated process since it is almost completely dark at the back of the nave – and just as we are about to be ushered by an assistant up the staircase, there is a frisson of activity from above, and the man himself appears, wine glass in hand, wearing a panama hat and dressed in bright, colourful clothes.
He strides purposefully past us towards the altar, raising his voice to speak. Rather like the drone, which continues to sound in the background, his voice is high-pitched and nasal. He announces that he will be playing Schlingen-Blängen, which has not been performed (spoken ostentatiously) ‘in the United States of America’ for decades. But he’s rambling on incoherently, maybe the cognac’s starting to take effect, and I’m starting to doubt all the hype. This increases as he proceeds to produce a ringing sound by rubbing his finger around the wine glass while emitting a series of pitches in a childlike voice.
With the performance rapidly descending into banality Palestine stops singing, abruptly turns on his heels down the aisle and back up the organ loft. Seizing the opportunity the Belgian musicologist/critic Maarten Beirens and I follow him up the stairs. Oblivious to the fact that we’re there, he is entirely absorbed in his own sound world and starts to perform.