Updated : 9/6/12 with added thoughts from Laura Kaminsky.
Every so often we have a conversation that changes us for the better. Sometimes, we have this type of conversation with our mothers, our fathers, our close friends and allies, our colleagues, or with an artist. Last weekend I had a profound conversation with the latter, an artist named Laura Kaminsky.
Laura Kaminsky, composer, is also the artistic director of Symphony Space, the renowned performance venue in New York City. She has received commissions, fellowships, and awards as both a composer and presenter from over twenty organizations including the Koussevitzky Music Foundation and the Aaron Copland Fund. Ms. Kaminsky also plays a large role in the operation of many musical and arts organizations including Chamber Music America, and, in the past, New Music USA (formerly the American Music Center), and as a member of the Artistic Advisory Council of the New York Foundation for the Arts, among others. Laura Kaminsky is an important and influential voice in the arts world today. Having the chance to speak with her by phone, I first asked her about her musical upbringing.
Laura Kaminsky (LK): I grew up in New York City, and was surrounded by musicians, painters, writers, and actors. As a very young child I thought I was going to be a painter when I grew up. But I started taking those typical piano lessons at about age ten or eleven, and quickly decided that practicing wasn’t nearly as much fun as making up my own music. This led me to start trying to figure out how to write down that which I made up. So, I was composing at a very young age, untrained, just writing the things that occupied my imagination. Still, I just thought of it as a fun thing to do. [Around this time] I began tormenting my younger sisters because I used to create family musical evenings that I insisted they participate in. We would perform these programs on the weekend for our parents. I think this is probably where I got my passion for producing.
When I was about 13, it was that time in New York when, if you were a public school kid, you could test and audition to go to a special high school. I wanted to go to [LaGuardia High School of] Music and Art, and originally I thought I was going to audition with an art portfolio. As I got closer to the day of the testing, however, I realized I was more passionate about my time spent in music, and requested that I switch my art audition to a music audition. I got in not because I was a particularly good pianist or clarinetist (that was my second instrument) but I think because I presented music that I wrote, and performed one of my own compositions. My four years at M&A were profound and formative; many of my friends today still date from that time, and many are living active lives in the arts. Read the rest of this entry »
If you’re free this Sunday, go see Symphony Z, Danielle Eva Schwob and Tania Stavreva at Dixon Place. Or, if you’re curious about the musical stylings of William Zuckerman, look for Music In Pluralism on Spotify, Amazon and CD Baby.
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!
Sometimes, classical music gets a bad rap. To be perfectly honest, there is a chunk of the population that finds it to be synonymous with any number of derogatory terms: boring, annoying, or pompous. Some classical music lovers and advocates will counter this popular belief with arguments that only go to further the opinion of the other side: “Some people want to listen to mindless music”, “Some people simply don’t have patience”, etc. These ridiculous arguments only go to further the stereotype that classical music lovers are all pompous windbags who believe themselves to be uniquely educated and informed.
How, then, do we get people to forget their misconception, and believe that EVERYONE can enjoy or even love classical music, regardless of education, socioeconomic standing, or profession?
It all comes down to how classical music is presented; and now, for a limited time, you could join one organization that does it right.
This venue was the location of this past Sunday’s concert featuring Iktus Percussion (Cory Bracken, Chris Graham, Nicholas Woodbury, and Steve Sehman), pianist Taka Kigawa, and toy pianist Phyllis Chen. According to Iktus member Cory Bracken, one of the missions of the evening (focused entirely around composer John Cage) was to take some of his pieces that are almost exclusively performed in academic settings, and begin to inject them into the public concert repertoire. What the audience encountered, therefore, was a healthy mix of both often and not-so-often performed pieces by John Cage.
On Tuesday, the New York Philharmonic celebrates French composer Henri Dutilleux, the recipient of the orchestra’s first Marie-Josée Kravis Prize for New Music.
Dutilleux has decided to use the prize money to commission three composers to write works for the Philharmonic in his honor. He’s already selected one – Peter Eotvos. Who would you recommend to Mr. Dutilleux as the other two commission recipients?
Alan Gilbert will conduct and Yo-Yo Ma is the featured guest soloist.
Ainsi La Nuit for String Quartet (1976)
Cello Concerto — Tout un monde lointain (A whole distant world) (1970)
We’re pleased to introduce cellist Maya Beiser’s performing the Michael Harrison composition “Just Ancient Loops,” with film by Bill Morrison, which will receive its premiere at the Bang on a Can 25th Anniversary Marathon this coming Sunday in NYC.
This is just one of many performances that will occur over the marathon’s 12 hours of free live music-making: check out the complete schedule online here.
Congrats to the can bangers – may you have many more seasons of marathoning!
103 year old Elliott Carter has written a new work, Two Controversies and a Conversation, which will be premiered tonight at the Met Museum as part of the New York Philharmonic’sContact! series. The concert, conducted by David Robertson, also includes a newly commissioned work by Michael Jarrell and Pierre Boulez’s …explosante-fixe…
Carter discusses the piece in the video below.
The Contact! program will be repeated on Saturday at Symphony Space.
This month, Gyan Riley is curating for New York venue the Stone. One of the San Francisco residents that he’s invited to visit the Big Apple for a gig is avant-cabaret artist Amy X. Neuburg, who performs there tonight (details below).
Neuburg eschews the usual instrumentation of a cabaret performer, instead using an electronic drumset. But the music isn’t isolated to percussive utterances; rather the synth drums serve as a control surface with which she can trigger live recording and overdubs. Thus, a drum hit might ‘sound’ like drums, or it might just as easily trigger backing vocals or synth patches.
Using this setup, Neuburg often creates multiple loops, each with its own place in the sound field. Her set at the Stone (her first appearance there) will introduce some new works, but also revisits her back catalog, updating several pieces to accommodate this “spatialized” aesthetic.
To many, Memorial Day weekend means the kickoff of the summer season: getaways, barbecues, traffic, and more traffic …
But the New York new music scene doesn’t seem to be on holiday from its Spring season yet. indeed, we’ll be talking a number of events in coming weeks, extending well into June.
Performers and, one hopes, audiences, aren’t even taking the weekend off. Tonight is an all Milton Babbitt concert at CUNY Grad Center. It features several pieces done by the performers who’ve made them part of their core repertoires. But any chance to hear Judith Bettina sing Philomel again or William Anderson and Oren Fader play Soli e Duettini is most welcome. Less often heard but featured here is the early “Composition for Four Instruments” and the piano duo Envoi from 1990. Though it’s bittersweet to go to hear Babbitt’s music without his convivial presence and sepulchral commentary, it is good to see that the Composers Alliance and CUNY are making every effort to keep his music alive.
Milton Babbitt Retrospective
Friday, May 25, 2012, 7:30pm at CUNY Graduate Center
Elebash Recital Hall (365 Fifth Ave, New York) Free Admission
None but the Lonely Flute (1991) Patricia Spencer, flute
Envoi (1990) Steven Beck and Zachary Bernstein, piano
Soli e Duettini (1989) Oren Fader, guitar, William Anderson, guitar
Melismata (1982) Karen Rostron, violin
Philomel (1964) Judith Bettina, soprano
Composition for Four Instruments (1948) Patricia Spencer, flute; Charles Neidich, clarinet; Joshua Modney, violin; Christopher Gross, cello
My Ends are My Beginnings (1978)Charles Neidich, clarinet
More Melismata (2006) Christopher Gross, Cello
Swan Song no. 1 (2003) Barry Cooper, flute; Robert Ingliss, oboe; William Anderson, mandolin
Oren Fader, guitar; Calvin Wiersma, violin; Susannah Chapman, cello; James Baker, conductor
On Saturday, Collide-O-Scope Music is presenting a varied program, including a Babbitt work as well, but mostly featuring music by emerging and mid-career composers. As is often the case, CoSM programs both works for conventional instrumentation and for sound objects that are decidedly unconventional. Here, the latter is represented by Lou Bunk’s “scratch-o-lin,” a cardboard contraption that he fervently attacks with a violin bow!
Collide-O-Scope Music presents “The Medium is the Music”
Alexandra Gardner: New Skin (2002)
James Romig: Walls Like These (2012)
Lou Bunk: Shreds of New Walls (2012) *
Christopher Bailey: Fantasy-Passacaglia After Hall and Oates II (2012) *
Lou Bunk: Study for Bowed Cardboard (2010)
Christopher Bailey: Outlying Afterward (2012) *
Michael Klingbeil: Vers La Courbe (2012) *
Milton Babbitt: Preludes, Interludes, and Postlude (1991)