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
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)
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.
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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!
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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.
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