[youtube]http://www.youtube.com/watch?v=yC_3a9mHy3w[/youtube]
Read moreThe International Contemporary Ensemble will be featured at 7 PM tonight on Q2. Hosted by John Schaefer, this live broadcast from Yamaha Piano Salon in NYC is a sneak preview of Lincoln Center Festival’s Varèse: (R)evolution. (R)evolution will present the composer’s entire oeuvre over two concerts on July 19 &20. Performers include the New York Philharmonic, conductor Alan Gilbert, percussionist Steven Schick, and ICE. Program: Density 21.5 (1936) with Claire Chase, flute Un Grand Sommeil Noir (1906) with Samantha Malk, soprano Ameriques (NEW YORK PREMIERE of 8-hand piano version) (1929) with Jacob Greenberg, Amy Williams, Amy Briggs and Thomas
Read moreI just got off the phone with a reporter from the Chicago Reader, who read our February 12th coverage of Eighth Blackbird’s Composition Competition (on Twitter, this came to be known as the “8Bb boo-boo” post). In the initial post, I’d expressed my disappointment at finding out that Eighth Blackbird, an ensemble for whom I had a great deal of respect as new music performers, was charging a $50 entry fee for their competition. As the post’s title indicated, it seemed apparent that the competition’s prize would easily be self-funded by application fees, with plenty left over. We had a
Read moreWho’s the first (ahem) “downtown contemporary classical ensemble” to be added to the videogame Rock Band? Bang on a Can All Stars host their annual Marathon this Sunday (6/26) at the World Financial Center Winter Garden in Manhattan from noon-midnight.
Read moreFor the past eight years, Graham Parker has been the Executive Director of Orpheus Chamber Orchestra. Now, he’s going to work for New York’s classical music radio station. It was announced today that Parker will be the new Vice President of Classical WQXR 105.9 FM and WQXR online. It appears that he’s been tasked with helping the station to develop its brand identity. For those who aren’t “New Yawkers,” this may require some explanation. In 2009, New York’s National Public Radio Station WNYC acquired WQXR from the New York Times. WQXR’s frequency, 96.3 FM, was in turn traded to Univision’s
Read moreI’m still reveling in the memory of So Percussion’s appearance with the Orchestra of the League of Composers last week. And here’s a new recording of music of another sort altogether! So’s latest collaboration is with Baltimore electronica duo and frequent Björk collaborators Matmos. On Treasure State, a recording for the Cantaloupe imprint, they create a patchwork quilt of found object percussion, glitchtronica beats, synthetic signatures, and complex rhythmic structures. Despite the multifaceted nature of the proceedings, the underlying groove remains eminently danceable. Here’s a taste of their work: a YouTube clip from their recent show at Le Poisson Rouge.
Read moreRobert Dick in Recital Institute and Festival of Contemporary Performance Mannes College of Music (New School University) June 17, 2010 Robert Dick was a name we heard in graduate school, spoken by flutists and composers alike in hushed, almost reverent tones. His treatise on contemporary playing techniques, The Other Flute, has long commanded a hefty price at various online bookstores (which is somewhat puzzling, as the tome has remained more or less continuously available). I finally found one for less than a king’s ransom a few weeks ago: just in time to ‘study up’ before finally hearing Dick live in
Read moreIgor Stravinsky’s birthday is today. Check out this recording of Stravinsky’s own Greeting Prelude, which was played on the occasion of Louis Andriessen’s 70th birthday by Reinbert de Leeuw and the Radio Philharmonic.
Read moreRite Simon Bolivar Youth Orchestra of Venezuela; Gustavo Dudamel, conductor Deutsche Grammophon CD True, Stravinsky’s Sacre du Printemps is a watershed work. It serves as many a classical listener’s jumping off point when first exploring Twentieth Century repertoire. But can a work, no matter how seminal, have too many recordings? Can it get programmed so often on concerts that it loses its zing? I have several recordings of the piece myself, but I’d begun to wonder in the past couple years whether the Rite was in danger of being overexposed. And I’m not the only one… Enter young conductor Gustavo
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