It was an evocatively strange and ambiguous experience to hear Anton Batagov play Morton Feldman’s Triadic Memories last Sunday evening in the newly restored Board of Officers Room at the Park Avenue Armory. The room is stunning, beautiful and elegant in a way that speaks not just of easy riches but of plutocracy and power. It’s the size of a studio apartment, and sitting in it is like being in the intimate quarters of the people whose riches ensure their legacy in and on buildings across the city. And there we heard Feldman, the last of three concerts to inaugurate
Read more“One chord is fine. Two chords are pushing it. Three chords and you’re into jazz.” – Lou Reed Much of my music passes the above “into jazz” marker. That said, Lou Reed taught me a great deal about productivity, creativity, and the maxim that “sometimes, less is more.” Sad tonight for Laurie Anderson, and for us, who are deprived of more “more with less.”
Read moreA funny thing happened last night during the Los Angeles Philharmonic’s performance of 200 Motels. The audience turned on itself. Before the show, the chorus warmed up the crowd with some catcalls, and that prompted the room to loosen up. The vibe was fun. The orchestra did a wave. The audience hooted and hollered like they were at the Fillmore. During an awkward silence, some brave soul chanced a “Freebird!” shout, and was lucky to get hearty laughs instead of groans. It seemed like a loose crowd, that was in the mood for a fun show. From my vantage point,
Read moreA new video (posted yesterday) of New York Polyphony live in midtown Manhattan at St. Mary’s. We have been playing the quartet’s latest BIS recording, Times go by Turns, in heavy rotation. The disc includes Renaissance masses by Tallis, Byrd, and Plummer as well as contemporary pieces by Gabriel Jackson, Andrew Smith, and one of the last works written by Sir Richard Rodney Bennett. “A Colloquy with God”, gifted by Bennett to NYP, is, simply put, a knockout. The website eClassical is sharing a bonus track from the album, Tallis’s beloved motet “If Ye Love Me,” for download here.
Read more[youtube oTnwdQbN3vY] Some of the most timeless, gripping, modern and surprising music I hear consistently are the vocal works of Renaissance Italian composers and their associated circle – Monteverdi, Gesualdo, the great Madrigalist Luca Marenzio. Saturday night at Miller Theatre I heard music from composers who were new to me – Giovanni Maria Trabaci, Il Fasolo (not Giovanni Battista Fasolo) and Marco Marazzoli – in a revelatory and affecting concert from the great early music ensemble, Le Poème Harmonique, led by Vincent Dumestre. Why Renaissance music at Sequenza21? First, Miller is as important for their early music programming as they
Read moreMonday at the DiMenna Center, New York New Music Ensemble presents a program of works by Lukas Foss (1922-2009). Lukas (with whom I studied in the 90s when I was at BU) was a man of many musical talents with a near-omnivorous interest in a host of musical styles. Rather than try to present a comprehensive portrait of them all (a tall order in a single evening!), NYNME will focus on pieces from the mid-sixties through the mid-eighties, the period during which he was in his most experimental phase. In Echoi (1963), Foss made use of vast swaths of serial-inspired
Read more[youtube QinQ1gkLWpU] A bit past the halfway mark in Richard Wagner’s Siegfried Idyll comes a passage marked “Lebhaft” (lively tempo). It begins with a bright, energetic horn fanfare that is quickly answered by bird calls in the flute and clarinet. The flow of the piece makes it sound like Siegfried – Wagner’s son as much as his character – has awoken from gentle slumber to find himself in the woods. But there was nothing like that sensation when Alarm Will Sound played the original sinfonietta version last Friday to open their “The Permanent Collection” concert, which itself opened their new
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Chamber Music, Classical Music, Composers, Concerts, Contemporary Classical, Flute, Houston, Improv, Interviews, jazz, Performers
Imani Winds: Jeff Scott, Toyin Spellman-Diaz, Valerie Coleman, Monica Ellis, and Mariam Adam. (Photo by Matthew Murphy) (Houston, TX) Since the group’s inception in 1997, the Imani Winds have continued to expand the relatively small-sized repertoire for wind quintet by commissioning several works by such forward-thinking composers as Alvin Singleton, Roberto Sierra, Stefon Harris, Daniel Perez, Mohammed Fairouz, and Houston’s own Jason Moran. Moran’s four-movement work Cane, Moran’s first composition for wind quintet, appears on the Imani Winds’ 2010 album Terra Incognita, along with pieces by two other jazz masters, Paquito D’Rivera and Wayne Shorter. (The Imani Winds appear on
Read moreThe Society for Minimalist Music is holding their biennial conference this year on the campus of Cal State Long Beach from October 3d through the 6th. Opening day included a concert of piano music by primarily west coast-influenced composers who have appeared on the Cold Blue Music label, and two of whom – Michael Jon Fink and Kyle Gann – were in attendance. The venue was the Daniel Recital Hall which comfortably held the audience, consisting mostly of conference attendees. The pianist was Bryan Pezzone. The wide variety of expression in this concert – even within the context of piano
Read moreThe demise of the New York City Opera is a tragedy for American composers, singers and fans of new opera. With rare exceptions, it has been, since its founding in 1943, the only game in town for large-scale productions of major works by composers who were still breathing at the time. From now established oldies like Douglas Moore’s The Ballad of Baby Doe, Carlisle Floyd’s Susannah, Leonard Bernstein’s Candide, and Aaron Copland’s The Tender Land to newer masterpieces like Mark Adano’s Little Women, John Corigliano’s The Ghosts of Versailles, and Tobias Picker’s Emmeline, the NYCO has been an invaluable platform for American-style grand opera. The NYCO was
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