In a recent piece for Slate , musicologist Jan Swafford took readers on a little tour of contemporary music that has yielded a fair share of controversy. Mind you, that Slate is publishing a piece on contemporary concert music (or, as Swafford puts it, “contemporary ‘classical’ music, or whatever you want to call it”) for a general readership is a very good thing. But I wonder if we couldn’t do better than Mr. Swafford’s myopic, narrow-minded and patronizing article. For the record—and right off the bat—let me state that I agree with Mr. Swafford’s ultimate message that “(t)he archetypal avant-garde
Read more[youtube]http://www.youtube.com/watch?v=klmhgRRRnHM[/youtube] A nanosecond or two ago–at the dawning of the age of aquarius, when my generation’s future was still a bright crazy quilt of dreams and possibilities–my wife Suzanne and I were graduate students at West Virginia University in Morgantown. I had just successfully avoided Viet Nam by signing up for two years of active duty in the Navy Reserve and accidentally getting myself assigned to duty on an icebreaker. I spent most of my contribution to the war effort at McMurdo Sound, Antarctica, staving off death by boredom by feeding beer to penguins who, as my shipmates and I
Read moreMaya Beiser, everyone’s favorite ex-Can Banging All Star downtown cellist, was an invited presenter at the March 2011 TED conference. The TED site recently released a high quality video of her lecture recital, and it’s already garnered over 80,000 views! TED’s slogan: “Ideas worth spreading.” We’re glad that Maya’s getting the chance to spread the word about Steve Reich’s Cello Counterpoint and David Lang’s World to Come far and wide!
Read moreLike the New Music Bake Sale, there’s another great Brooklyn tradition beginning to happen. On Friday, July 8, 7:00 pm to midnight at the Invisible Dog Art Center, Dither will be hosting their second annual “Extravaganza.” This year they will be featuring an array of experimental sounds, presented by composers and performers notorious for carving out unique musical niches. In addition to Dither, the lineup includes renowned guitarist Marc Ribot, powerhouse quartet So Percussion, Ches Smith and These Arches (an all-star line-up including Mary Halvorson, Andrea Parkins, and Tim Berne), Ted Hearne and Philip White’s raucous noise group R We
Read moreSummer’s here and the time is right for dancing in the streets. Or, making playlists. Or something. Some friends who just got themselves a screened-in porch for their house up in Willow asked me to come up with an iPod playlist for sitting around at dusk smoking cigars and sipping brandy. Mostly pop-stuff but offbeat. I decided to go all-female..well, okay, there is one boy-girl duet…because I like girl singers. But, I digress, I had so much fun putting the list together that I thought we ought to have a little playlist contest here. Any genre is
Read moreMy parents-in-law have a long tradition of enthusiastic photography. Greta the golden retriever is less than a year old, but she’s already an accomplished model. To those readers in the United States, I’d like to wish you a safe and happy Independence Day. While there’s a lot of music played on this holiday that is arranged to be “broadly appealing,” Charles Ives was never one to compromise. “Fourth of July” (1904), from the Holidays Symphony, complexly layers a number of patriotic tunes, which move a different speeds and simultaneously appear in different keys. No one will mistake this piece for
Read moreOn Thursday, I’m giving a talk about Milton Babbitt’s life and work to high school composers at Westminster Choir College’s Composition Camp. It seems only fitting to introduce them to Babbitt as part of the week’s activities. He lived near WCC’s campus, attended a number of events at the college, and until it closed some years back, could often be found at the Annex at lunchtime. Many of our students knew Milton best because they’d waited on him there! Another reason that I want to share my interest in Milton’s music with them: he was the first composer that I
Read moreUpdate (July 5, 2011): The Villiers Quartet has revised its guidelines for its new music competition. The most notable change is the age restriction, which has been raised to 35. Good luck! London’s Villiers Quartet is seeking new works by composers under 35. If you’re an emerging composer looking for an international performance opportunity, check out the guidelines to have your work premiered next season by this exciting, young ensemble. I’ll let the ensemble’s first violinist, James Dickenson, explain: [youtube]http://www.youtube.com/watch?v=gJ9bzsWGJEQ[/youtube] And here are their guidelines, which can also be found at the Villiers Quartet’s web site. The 2012 Villiers Quartet
Read moreIf you’re in the LA area this Sunday, and can spare 4 hours and then some (4 hours for the concert, then some for the commute and parking), 3 young musicians attending the Music Department at University of California, San Diego will perform Morton Feldman’s For Philip Guston. While Feldman performances at UCSD are common enough, the sheer scale of For Philip Guston makes any production a rare event: 4 hours of late Feldman. Rachel Beetz will play flute (can you imagine playing a wind instrument for 4 hours with no breaks outside of the rests the composer gave you?),
Read moreBarriers between various musical genres continue to be gleefully destroyed by insightful musicians and collectives. One such divide that has been crumbling over the last few years has been any distinction between “bands” and “chamber groups.” Beyond the ensembles made up of visually traditional combinations (“string quartets” such as Kronos and Ethel) are more unusual outfits like Clogs, a bassoon-viola-guitar-percussion quartet. The final, June 10th concert of the 2011 Tribeca New Music Festival featured SWARMIUS, a band from San Diego with an intriguing quartet configuration of violin, saxophone, percussion and laptop/electronics. Led by composer Joseph Waters (whose nom de band
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