Eminent composer, college professor, and Lutoslawski scholar Steven Stucky has died, aged 66. The cause was brain cancer. Below, listen to one of his beguiling works, the Notturno movement from Serenade for Wind Quintet.
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.
Comments Off on Tonight: Carter premiere at Contact!
Our friends (and the performers on the last Sequenza21 concert) ACME appeared at All Tomorrow’s Parties last week. Quite a coup for the indie classical group, which is enjoying increased crossover success. Below check out video footage of them performing Gavin Bryars’s “Jesus’ Blood Never Failed Me Yet” live at ATP.
Tonight, Hotel Elefantmakes its debut concert at the DiMenna Center for Classical Music (a venue that’s just celebrated its one-year anniversary). The concert features two works by David T. Little. Sequenza 21’s own James Holt will be on hand to host the event; he’ll conduct an onstage interview with Little.
Below, check out one of several preview videos from the ensemble’s YouTube channel (there’s interview footage with several of the program’s composers): composer Leah Maria Villarreal and violinist Andie Springer discuss preparing a new multimedia work entitled “The Warmth of Other Suns.”
Some of the arts organizations in New York are venerable establishments. Others may be relative newcomers, but take little time to install themselves as intrinsic parts of the music scene. It has only been here since the early aughts, but many of New York’s performers and concertgoers would have a hard time envisioning musical life here without the countless collaborations and imaginative programs brought to fruition at the modest-sized, yet mightily influential, Austrian Cultural Forum.
ACFbegins its tenth season with a celebration: a concert this Friday at Bohemian Hall: a more commodious space. At Bohemian Hall, they have an enlightened take on the acquisition of celebratory libations: according to the press release, “Concert-goers can buy a glass of wine, liquor or Czech beer to enjoy at the performance. The bar at Bohemian National Hall will be open before, during and after the concert.” Beat that Avery Fisher Hall!
Appropriately enough, the event spotlights three Austrian composers: Clemens Gadenstätter, Bernhard Gander, and Bernhard Lang. The program, which includes two US premieres, will be performed by the Talea Ensemble with guest vocalist Donatienne Michel-Dansac. Both Lang and Gander will be in attendance. They will join Columbia University professor George Lewis for an onstage discussion. And did we mention that this event, as well as the nine subsequent programs on ACF’s season, are free of charge?
For those of you unfamiliar with soprano Donatienne Michel-Dansac, she’s a highly regarded performer of European composers from the second moderns school. Check out the video clip below of her performing an excerpt of a work by Georges Aperghis.
On the File Under ? blog tomorrow, we’ll be discussing Landscapes, Toshio Hosokawa’s first portrait CD for the ECM imprint. The new recording features an orchestral arrangement of this 1993 work, originally scored for shô and string quartet.
ECM's new release features a different view of "Landscape V"
I certainly wouldn’t want to be compelled to prefer one to the other: Landscape V is a haunting tone poem in both its intimate and fuller incarnations.
Sketches for an untitled orchestral work dating from the time Sibelius was writing his Eighth Symphony
Big news from Finland: Sketches of what appear to be Sibelius’s Eighth Symphony (long thought destroyed by Sibelius) have emerged. Here’s a clunky Google translation of the Finnish web site announcing this incredible discovery, along with an orchestral reading of those sketches. At the original Finnish link, you can access a video and hear the realization of the sketches. Those of you who don’t speak Finnish will want to jump ahead to ca. 2:00, where the music actually begins. Yes, it sounds like Sibelius, but a more chromatic and fragmented Sibelius than we’re accustomed to.
A more comfortably written article on the discovery and the musicology supporting the claim can be found here.
And a great big Thank You to Sibelius booster Alex Ross, who hipped me to this at his web site.
Between November 15, 2011 and December 31, 2011, download the score to wed from David Lang’s memory pieces without charge from http://digital.schirmer.com/lang-contest
Learn the music and make a video of yourself playing it.
Post the video on YouTube.com by midnight (Eastern Standard Time) on December 31, 2011.
**IMPORTANT** you must tag the video with the following phrase: David Lang Piano Competition 2011
Back in 2003, the incredible pianist Amy Briggs (and if you don’t know her playing, you should check out some of her performances of the David Rakowski Etudes on YouTube) was approached by the music department at U.C. Davis to engage in a residency built around the idea of new tangos for piano. As part of the project, they asked Amy to build an entire concert program of tangos, each of which needed to be no longer than three minutes. She could use completed pieces and have others write for the project, and the Davis composition faculty (including Laurie San Martin) all agreed to write new works for her and to arrange for her to record a CD of the entire concert repertoire. Amy chose me, along with several wonderful composers like Hayes Biggs, to write a new tango of no more than three minutes. She toured with these pieces for several years and the entire project is now available via Ravello Records and at Naxos.
When Amy first approached me to contribute to this project, I was both excited and quite fearful. Tangos long ago achieved the status of major cultural achievements, basically functioning as the national musical style of Argentina. As an outsider with relatively little experience of this genre I felt that there was little that I could add. At the same time, it would have been disingenuous to write a generally inspired piece and to cavalierly claim it as a tango, and I very much wanted to work with Amy and to be involved with this endeavor.
After listening to many traditional tangos for various ensembles and several experimental composers’ reinterpretations of this form, this piece began to take shape. I retain the staggered rhythm in the first half of the measure that is the most recognizable element of the traditional form, using it as an accompaniment for a simple and mournful melody that to my mind evokes the mood of the dance. The piece then presents variations on this melody. Perhaps more important than these purely musical impetuses was my attempt to portray the various aspects of the tango itself as though constantly refracting through the emotions of the dancers and the scene itself as viewed by the participants and audience. For this reason, Requests continually presents sudden shifts in mood and affect as the perspective jumps from the internal to the external and between the various perspectives on each level.
Since I knew I was writing for an astonishingly virtuosic player, as I composed this piece I allowed myself to be pulled constantly towards ever-greater feats of pianism, making this short work very daunting for most players. I’m thrilled that ACME has chosen to present Requests on the Sequenza21/MNMP concert and look forward to hearing all the pieces at Joe’s Pub this week.
– David Smooke chairs the music theory program at Peabody. He blogs regularly at NewMusicBox and plays a mean toy piano.