Full disclosure: Caroline Shaw has played my music, so I make no claim to objectivity here.
The day after Paul Moravec won the Pulitzer prize, John Adams started shooting from the hip about the Pulitzer going to “academic composers.” I was annoyed. But I figured, “Okay, he’s being a jerk, but Paul is an established composer writing quality material: He doesn’t need Adams’s permission to be successful.”
Recently, however, Adams has been sniping at younger composers. Yesterday in the NY Times, he took a thinly veiled swipe at Caroline. I know that she doesn’t really need JCA’s permission to be successful either. However, it really ticks me off that Adams is willing to burn the bridge behind him.
So let’s break the cycle of composers eating their young. Emerging and just-emerged composers: remember to pay it forward and to not get crotchety before your time.
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Posted by Chris Becker in Austin, Cello, Chamber Music, Classical Music, Concerts, Contemporary Classical, Houston, Strings, tags: Beethoven, Houston Friends of Chamber Music, Miro Quartet, Philip Glass, Schubert, String Quartet
(The Miró Quartet)
(Houston, TX) As a way of acknowledging the impact composers such as Terry Riley, Meredith Monk, Steve Reich, and Philip Glass made on him in his formative years, composer John Zorn has described himself as a “child of minimalism” and said that the influence of the minimalist school “is somewhere in almost everything I do.”
Cellist Joshua Gindele, a founding member of the Austin-based Miró Quartet, probably wouldn’t describe himself as a child or even a grandchild of minimalism, since Glass’s repertoire, as well as the repertoire of several of the composers we’ve come to associate with the “M” word, has since found a home among the standards that any self-respecting classical chamber ensemble plays. Along with performing traditional string quartet music, including works by Beethoven, Brahms, and Schubert, the Miró Quartet has commissioned and performed several new works by composers, including Brent Michael Davids, Chan Ka Nin, Leonardo Balada, and Gunter Schuller. On Tuesday, September 17, 7:30 PM at Rice University’s Shepherd School of Music, the Quartet performs a program of works by Schubert and Beethoven as well as Philip Glass’s String Quartet No. 5.
Although Glass is still finding ways to surprise listeners and reboot the very musical language he began articulating back in 1966 with Read the rest of this entry »
On a hot September 7th Saturday night, People Inside Electronics and LA Sonic Odyssey presented bass-baritone Nicholas Isherwood in a concert of electronic and vocal music given at the Moryork Gallery in Highland Park. This was the Los Angeles appearance for Isherwood’s world tour that will also take him to New Zealand, Portugal and France. The evening included works by Michael Norris, Jean-Claude Risset, Lissa Meridan, Isaac Schankler and featured an adaptation of Karlheintz Stockhausen’s powerful Capricorn.
The Moryork gallery space was roomy and comfortable for the 40 or so in attendance and even though the interior walls were lined with all sorts of exotic items the acoustics were carefully engineered with several good speakers placed around the perimeter of the audience. A table with a soundboard and several computers completed the electronic setup. With Los Angeles sweltering in triple-digit temperatures the heat inside the gallery was an issue, but it did not affect the performance.
The first piece was Deep Field I by Michael Norris, a composer and software programmer who teaches at the New Zealand School of Music. Deep Field I is the first of a proposed series of works based on the Hubble Telescope Deep Field images. The electronics provided a suitably spare and expansively distant feel while Isherwood’s rich voice added a welcome warmth. The texts were taken from MUL.APIN, an ancient Babylonian star catalog, On the Revolution of the Heavenly Spheres by Copernicus and some 16th century French poetry by Pierre de Croix. The blending of voice and electronics through the speaker system was effective, although the vocals would occasionally overpower. This piece provokes feelings that are an interesting combination of the primal and the futuristic, inviting the listener to speculate about immensity of deep space and our place in it. Deep Field I was commissioned by Nicholas Isherwood and is well matched to his voice. Read the rest of this entry »
Every year’s Proms has several thematic threads, often celebrating anniversaries and birthdays. This year, no exception, had a large number of performances commemorating the centennials of the births of Benjamin Britten and Witold Lutoslawski, and a bunch of them occurred during the slice of the Proms that I was around for. In the concerts in the Albert Hall Britten was represented by Les Illuminations, performed by Ian Bostridge and the London Symphony Orchestra, conducted by Daniel Harding, in their concert on August 20. Les Illuminations sets poems of Rimbaud, a poet whose work was introduced to Britten by W. H. Auden; Britten began it with settings of two poems for Swiss soprano Sophie Wyss, and she sang them at the Queen’s Hall under Henry Wood. Later that year Britten added settings of seven more poems, connected by the refrain “J’ai seul la clef de cette parade sauvage” [I alone have the key to this savage parade.] Wyss was the soloist for the first complete performance in 1940 in London, but by 1941 the work had become the property of Peter Pears, who sang the first American performance with the CBS Symphony Orchestra, conducted by Britten. Ian Bostridge has become a major performer of a lot of the music that Britten wrote for Pears. He delivered a performance on this concert with a good deal of confidence, even swagger, which is appropriate for this piece. This listener has never warmed up to Les Illumination, or, for that matter, to Bostridge as a performer of Britten’s music, and this performance didn’t change anything. The concert began with a brief fanfare, derived from his oratorio The Mask of Time, by Michael Tippett, which was followed by his Concerto for Double String Orchestra, his earliest work. Britten and Tippet were contemporaries and friends; when the first recording of the piece was made, during the Second World War, while Tippett was imprisoned as a conscientious objector, Britten was the co-producer. Read the rest of this entry »
Thursday night kicked off the Resonant Bodies Festival, a new 3-day parade of contemporary vocal music at ShapeShifter Lab in Brooklyn.
Each night features three young singers performing programs of their favorite music. This curatorial freedom gave last night’s show a happy zealousness, where the singers’ enthusiasm for their repertoire was contagious.
Festival curator Lucy Dhegrae marked out a broad territory in her set. Beginning with Jason Eckardt’s mantic Dithyramb, she swiftly established her virtuosity in an elastic, preverbal but hyper-articulate world. In Old Virginny, by Shawn Jaeger, juxtaposed a forthright Appalachian lament with a snarling, snaky bassline, played athletically by Doug Balliett, to surprisingly tender effect. Balliett then took the mic for the premiere of his newest Ovid rap cantata, #11, Clytie and the Sun. While not the most arresting of his cycle (see Echo and Narcissus), it delivered a highly entertaining mix of humor and pathos, and Dhegrae’s theatrical arias, as the smitten Sun, were the perfect foil to his informal Narrator. Read the rest of this entry »
On September 3rd Kinan Azmeh CityBand returned to Joe’s Pub for the official release of their new album, Elastic City. The disc, a collection of passionate and virtuosic pieces in the genre of Arab World Jazz, features Azmeh (clarinet), Kyle Sanna (guitar), Josh Myers (bass), and John Hadfield (drums and percussion). Formed in 2006, the ensemble has received critical acclaim in the US, Europe, and the Middle East. Judging from the large and wildly enthusiastic audience at Joe’s Pub, they are clearly developing a big following here in New York.
Born and raised in Damascus, Azmeh finished his training at New York’s Juilliard School and has since gained international recognition as a clarinettist, composer, and musical innovator. He’s currently recognized as one of Syria’s leading classical musicians and composers, and also has a well deserved reputation as one of New York’s most engaging composer-performers. In addition to his work with CityBand, Azmeh performs regularly with the Syrian ensemble HEWAR, the Damascus Festival Chamber Music Ensemble (of which he is the artistic director), and also as a solo artist.
CityBand has a captivating stage presence and an interpersonal attunement that comes from years of performing together. They respond intuitively to each other, grooving effortlessly in complex meters, and never getting in each other’s way. Their improvisations are sophisticated and emotionally powerful, each member contributing a distinct individual voice to a seamlessly blended whole. At times Azmeh brings the dynamics of the group down to an almost inaudible level, building it slowly to ecstatic heights.
Azmeh started the evening with a deeply moving solo entitled A Sad Morning, Every Morning, a composition that he wrote in memory of the thousands who have lost their lives in the Syrian conflict. Other memorable moments included Woods, a haunting and transportive work by Kyle Sanna, and Wedding, a raucous piece written by Azmeh that featured the group’s dazzling virtuosity.
Kinan Azmeh: A Sad Morning, Every Morning (art by Kevork Mourad)
It’s September, the beginning of a new season, and time for our annual below half-price one-year Sequenza21 sponsorship/advertising sale. You can change your ad monthly if you like so basically, you get up to 12 ads for the price of 5 at the standard rate.
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The late night Prom presented by the BBC Scottish Symphony Orchestra conducted by Ilan Volkov on the 19th of August is the kind that is guaranteed to draw an audience whose interest and enthusiasm is in inverse proportion to its size. I think there used to be more of them, but it’s hard to be sure. John White, born in 1936, is a rather legendary figure of one wing of the British avant garde, associated with composers such as Cornelius Cardew, Gavin Bryars, Howard Skepton, Roger Smalley, and Dave Smith, as well as Michael Finnissy. He is best known for his piano sonatas, of which there at least 200. People who know his music are devoted to it, but it rarely gets played. This performance of his Chord-Breaking Machine from 1971 was the first one I’ve encountered. The piece involves short rhythmic patters repeated at different rates in the winds and strings, while the brass sustain the harmonies produced thereby, against conflicting rhythmic patters in the percussion. The process as set up blurs the edges of the boundaries of the movement in time from one harmony and the next. It’s really an early minimalist process piece dating from a time before the genre had been conclusively named. This was a very good example of it, with lots of energy, and it was enjoyable and interesting, although it seemed a bit short. Read the rest of this entry »
On the Proms Chamber Music concert at Cadogan Hall on Monday, August 12, the women of the BBC Singers, along with flute player Philippa Davies and harpists Lucy Wakeford, Helen Tunstall, and Hugh Webb, of the Nash Ensemble conducted by Nicholas Kok, performed the UK premiere of Harrison Birtwistle’s The Moth Requiem. During the short interview before the performance, Birwistle said that as a young man he had had an interest in natural history, and was particularly interested in moths. Moths, he said, have a bad reputation because “they eat your cashmere,” going on to say that of the more than a thousand species of moths, only two eat cashmere. He sees the moths as emblematic of thing which are disappearing, both in the world, and in his life. “A lot of people seem to be going from my life,” he said, “and soon I’ll be going.” He wanted to write a piece which dealt with that, but he didn’t want to write anything morbid or sugary; he wanted it to have some idea of the anger he feels about it all.
Like Ravel in Daphnis and Chloe and Vaughan Williams in Flos Campi, Birtwistle uses the chorus instrumentally. Unlike those other composers, he gives them words to sings, although making it clear from the beginning that the perception of those words is not the point. The text of The Moth Requiem is the Latin names of twelve extinct species of moths, along with a poem by Robin Blaser, who Read the rest of this entry »
The two-week long series of experimental music concerts in and around Los Angeles concluded Saturday, August 17 with es geht weiter a reading of nine compositions from members and friends of Wandelweiser, an international group of composers and performers founded in 1992. The event was held at the Wild Beast performance space on the Cal Arts campus in Valencia and was curated by faculty and Wandelweiser member Michael Pisaro.
Twelve musicians in various combinations performed the nine pieces and a number of these works were heard in the US for the first time. The instrumentation varied widely – including found objects, standard instruments played normally or by coaxing out new sounds, voices and various electronics. Many of the pieces were very soft with long pauses and this invited a high level of alertness and concentration from the audience.
The nine works offered in this concert were highly varied in their instrumentation and approach – here are some random observations and reactions:
Through the window and the wood – Daniel Brandes. Very soft solitary electronic tone that slowly increases in volume, is then joined by a voice and followed by silence for several minutes. The most subtle of pieces, the long silences and low dynamics are effective in putting the listener in a heightened state of anticipation. Read the rest of this entry »
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