The orchestrion is a fairly old instrument, going back to the mid-19th-century. Pat Metheny and the mad scientists at the League of Electronic Musical Urban Robots have teamed up to create a 21st century version of an orchestrion.
I’ve spent the past few days listening to Metheny’s new CD, Orchestrion. If you’ve been following his work for the past few years, it’s no big surprise musically or harmonically: lush diatonic harmonies and sweetly melodic improvisations. What makes this disc so special, though, is his interaction with a robot ensemble, one which is completely controlled or programmed by Metheny. There is a surprising richness and warmth in these robot-played instruments that one does not find in MIDI accompaniments, and if you like Metheny’s music or you’re interested in seeing/hearing a mechanical instrument out of Jules Verne’s wildest dreams, do pick up the CD or catch Metheny and company on the road with this.
Lots of demos and explanations on Metheny’s web site.
It’s hard to imagine a percussionist that you would want to perform your music more than Alex Lipowski.Alex has a passion for the new, the challenging and the unusual and I find him to be one of the most inspirational musicians I’ve ever met.He spent much of our time together explaining how important it is to take risks and to find new and innovative sounds – good advice.You can see Alex and the Talea Ensemble on April 28 at the Players Theatre, 115 Macdougal Street, NYC.
Looking ahead, there will be three episodes in May and I’ll be devoting the month to violists.Check back on May 3 and see what Beth Weisser of the iO Quartet has to say.
P.S., If you were not able to make it to the bake sale then you missed out on a very special event.Even if you don’t care for all the music it’s hard to deny the sense of community from having so many different groups all in the same room – we are all in this together!Tip of the hat to Newspeak and Ensemble de Sade for making it happen.
the language of is a compilation CD of ten pieces by eight emerging composers in NYC, many of whom are associated with the Wet Ink Ensemble. Released by Quiet Design Records in Austin, TX, this compilation is a forward-thinking treatise on a constantly evolving new music scene. The production, recording, and design chores were undertaken by the composers and their colleagues, thus comprising a very personalized aesthetic. the language of is an essential purchase, not only for its DIY approach, but because it contains a variety of exciting, well executed compositions. And due to the wobbly legs of the music industry, resourceful composers could do well by using this CD as a business model.
There is an immediacy and yearning to the music featured on this CD. The emotional content (which, of course, varies from piece to piece) is enhanced by the recording techniques used to create the myriad sound-worlds, an approach that is both startling and engaging. There is not one ounce of sonic sterility that one might find on pristinely recorded chamber music CDs. Many of the recording techniques used are in-your-face, close mic’d, compressed, and manipulated to each pieces’ ambient requirements. Some of the pieces that most represent traditional chamber music are ambient mic’d, a representation that provides a bird’s-ear-view (sorry about that one) for the listener, or an aural realism, if you will. The variety of production from piece to piece is therefore more akin to the world of rock, jazz, and experimental music. The packaging, designed by composer Clara Latham, is an attractive and environmentally friendly cardboard cover that features nothing in the form of liner notes (this may be one of my only complaints, but it definitely adds a veil of mystery to the release).
Violinist Anne-Sophie Mutter is continually creating something new – from concerti by Krzysztof Penderecki and Andre Previn to works by Sebastian Currier and Henri Dutilleux.
Mutter’s latest project is a recording of Sofia Gubaidulina’s In Tempus Praesens, written in 2006-07 and premiered with the Berlin Philharmonic in August 2007. Selke Harten-Strehk has more background here on Mutter’s website.
I spoke with Mutter about the new concerto recording and about working with composers, and even if she composed herself. Listen to our conversation here.
That morning it was very difficult to get an international connection, and then about 10 minutes into our talk, the line went dead, and to my horror, it was another 3 minutes until I could connect again. (She now has my number as well, hahaha) Despite that, we had a great talk – this version (without our disconnect) also leaves out our talk about period bows (which she uses for the Bach concerti on the disc) as well as some talk about technology. You can hear the longer version over at ClassicallyHip.
I did leave out our talk about politics, which she was very interested in, and said Europe is watching the election closely.
Mutter performs very soon in New York City on October 13th, and you can find the rest of her schedule here. She’ll be back at Carnegie Hall in April 2009 to premiere a Piano Trio by Previn with Lynn Harrell, and a celebration of Previn’s 80th birthday with the orchestra of St, Luke’s including his Violin Concerto and a Concerto for Violin and Viola.
A few picks ago I introduced you to my new Houston friend, pedal-steel guitarist Susan Alcorn. She’s off to Argentina just now, but before she left she sent me a YouTube link to her performing in her studio just a week or two ago:
For the full story on the new aleatoric work seen being performed above on a Bösendorfer at the Two Moors Festival in the UK, take An Overgrown Path. Image credit BBC News
It’s hard to imagine a percussionist that you would want to perform your music more than 
Violinist Anne-Sophie Mutter is continually creating something new – from concerti by Krzysztof Penderecki and Andre Previn to works by Sebastian Currier and Henri Dutilleux.
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