The latest vendor to wade into the online sales arena is Sony’s Ariama. The site’s “public beta” version was recently unveiled. That means that the store is up and running, although they’re still tweaking things and making additions. More than fifty major and indie classical labels have already signed up to sell their catalogs on Ariama. There are several purchasing options available, including MP3, lossless digital (at a higher price), CDs, and SACDs. This past week, I went on to the site to “kick the tires,” making a few purchases and checking on its search engine and offerings. A few
Read moreCongratulations to Louis Andriessen for winning the University of Louisville’s 2011 Grawemeyer Award for Music Composition. He received the award for La Commedia, his fourth opera. This year’s award is $100,000.
Read moreThis Friday, December 3rd, is the second concert of the season by the American Composers Orchestra at Zankel Hall. This concert “explores composers’ reactions to specific moments, pinpointed and analyzed, which have inspired them to create something entirely new.” The program is titled A Time & Place and includes four world premieres commissioned by ACO. There is a new piece by Douglas J. Cuomo entitled Black Diamond Express Train to Hell that features cellist Maya Beiser as soloist. The Fire at 4 a.m. is Jerome Kitzke’s homage to both the creative and ceremonial fires he has tended. Christopher Trapani explores
Read moreWe’re saddened to hear the news of Ann Southam’s death this past Thursday after a long battle with cancer. Southam was one of Canada’s foremost composers, an influential teacher at the Royal Conservatory, and longtime arts advocate, active in several groups which fostered contemporary music. She received numerous honors during her distinguished career. Earlier this year, she was named a member of the Order of Canada. Southam’s oeuvre encompassed several compositional styles and genres: twelve-tone music, lyrical Neoromanticism, electroacoustic music, and postminimalism. I particularly admire her writing for the piano and have included two videos of contrasting works for piano
Read more…surf over to our sister ship, Chamber Musician Today, and check out today’s menu. We have the latest installment in violinist Marjorie Kransberg-Talvi’s remarkable continuing memoirs of growing up as an almost child prodigy driven by the dreams of a needy and demanding mother. Her story is as riveting as it is painful. Alison Lowell, aka oboetoast, has a piece about what you can learn from negative critiques (as in when a teacher you respect says “Oh, no, I don’t think you’re conservatory material.”) On a lighter note, Elaine Fine tells you where you can find the free sheet music
Read moreThanks to Carlton Wilkinson for sharing this on Facebook! I’ve written about Keith Rowe a couple of times for Signal to Noise, but he hasn’t been in the rotation for a while. I’m glad to see this gutsy and muscular prepared guitar performance.
Read moreShh! We’re improvising! The Lepers of Melancholy, Houston TX (photo by Jonathan Jindra) While reading Conversing With Cage at a bus stop today, I stumbled across this funny yet in the end profound exchange (circa 1980) between John Cage and John Robert with Silvey Panet Raymond: How do you consider new popular music – punk, New Wave? What is the New Wave? I don’t really know what it is. If you could point it out to me, I might have some reaction. It’s very simple, three – , four-chord stuff, aggressive, fast. There’s a good deal of dancing on the
Read moreThe Takacs Quartet gave the U.K. premiere of Daniel Kellogg’s Soft Sleep Shall Contain You, a hauntingly beautiful, touching “Meditation on Schubert’s Death and the Maiden.” The BBC has made the performance available online here. Kellogg’s quartet is a simply beautiful, evocative work that comments–at times gently, at others savagely, ultimately transcendently–on the refrain of Schubert’s famous song, “Death and the Maiden” (and, by extension–and design–the string quartet which bears its name thanks to the variation movement based on this same music). It is a little gem, its biggest–and only–flaw, perhaps, that it feels slight for a piece that is
Read moreWho says Barber cornered the market on Adagios?
Read moreThe University of Michigan School of Music, Theater and Dance’s second Student Composers’ concert of the year took place this last Monday, November 15. A hefty buffet of close to two hours of music, I found the evening passed by quickly and satisfactorily because each work was strikingly self-confident and virtually every moment of music was significant such that it never seemed like the pieces were treading water. Beyond this, the concert was particularly remarkable because of the prevalent display of composition students’ performing abilities. Only three of the night’s eight pieces lacked a composer-performer, and two among the other
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