If you’re a fan of new music, be it “indie-classical” or whatever it’s being labeled this week, then you must check out the music of composer and conductor Joseph C. Phillips, Jr. Phillips’ music, composed and arranged for his ensemble Numinous, a large chamber group (or small orchestra?) of woodwinds, brass, strings, tuned percussion, electric instruments and vocalists, is a complex, finely detailed amalgam of classical, minimalist, South American, Asian, and African American influences, with a distinctive “sound” that is instantly identifiable, yet full of surprises. (You know those descriptive terms “Brahmsian” or “the Mingus effect”? It’s like that.) Phillips’
Read moreThe 2014 Ojai Music Festival opened on Thursday June 12 to begin 4 days packed with informative talks, movie screenings, parties and concerts. The Festival’s Music Director this year is Jeremy Denk and the resident musical groups included The Knights orchestral collective and the Brooklyn Rider string quartet. Friday night’s concert was built around an examination of the Classical period and featured a Haydn string quartet as well as the world premiere of a new opera – “The Classical Style” – by Jeremy Denk and Steven Stucky that was commissioned by the festival for the occasion. The concert began with
Read moreSuperstorm Sandy wreaked a fair amount of havoc on a lot of concert schedules, but things are starting to return to something resembling normal. One quick shout-out I’d like to pass along is a performance this coming Sunday, Nov. 11, by the really wonderful violinist/violist Karen Bentley Pollick. Usually found at home in the mountains of Colorado, Karen’s coming to Brooklyn to give a concert of lots of pretty recent music — including the premiere of former Brooklynite and S21 composer/webmaster Jeff Harrington’s Grand Tango for violin with video. Jeff’s been living in France for a couple years now, and it’s good
Read moreYoung composer Mohammed Fairouz is not fooling around. Recently hailed by BBC World News as “one of the most talented composers of his generation,” his music melds Middle-Eastern modes and Western structures. A concert on Thursday evening will center around Fairouz’s compositional output. It is being presented by the Issue Project Room at Our Lady of Lebanon Cathedral and will feature pianists Kathleen Supové, Blair McMillen, and Taka Kigawa, mezzo-soprano Blythe Gaissert, soprano Elizabeth Farnum, the Cygnus Ensemble, and the Borromeo String Quartet in their only New York appearance this season. This concert will include the New York premiere of Fairouz’s The Named Angels, a new 28-minute work in four movements. The Borromeo String
Read moreThe group that helped to start the indie rock plus classical crossover genre, Clogs, doesn’t often make it out to Brooklyn. But, if Monday’s show at Galapagos is any indication, when they visit the borough, the group goes all out. In addition to selections from Clogs’ previous studio recordings, the concert features “Shady Gully,” a new group of songs written by Padma Newsome. Those in attendance will also get a sneak preview of “2 Moon Shine,” his forthcoming opera project. Also on the bill is Clogs member Thomas Kozumplik’s project Loop 2.4.3. I’ve been greatly enjoying their latest full length recording American
Read moreBrooklyn Wind Symphony Artistic Director Jeff W. Ball interviews Dr. David Maslanka on the music of the late composer John Barnes Chance, “channeling” the composer, and the growing prevalence of commissioning consortiums among wind ensembles. JWB: When did you first hear a composition by John Barnes Chance? DM: My first contact was “Incantation and Dance.” It was around 1965. I was a first-year grad student at Michigan State and the band there was playing the piece. I wasn’t in the band, but heard rehearsals and performance. The piece was “hot” that year – everybody was playing it. JWB: Has your impression
Read moreCookies (and other Goodies) for a Cause On Sunday March 11, 2012 from 4 PM to Midnight, a plethora of organizations gather at Roulette in Brooklyn for the Third Annual New Music Bake Sale. Ten bucks gains you entry to the event plus a raffle ticket. There’s music being performed every hour on the hour by artists such as Newspeak, Gutbucket, the Janus Trio, and more. Check out the event’s website for a complete listing of performers, sponsors, and organizations manning the tables. Dessert, plus music, plus prizes? Sounds like this third installation of the Bake Sale is triply pleasurable!
Read moreLong Distance Poison Gamma Graves Ecstatic Peace Cassette Gamma Graves is a prime example of the kind of release that has helped to fuel the cassette resurgence on the indie/experimental music scene. Produced by a variety of sources, from bedroom DIY collectives and small tape-only labels to established imprints like Ecstatic Peace, the audio cassette format, long thought extinct, is back. Tapes have been unassumingly encroaching their way onto the shelves of connoisseur collectors and music critics (no less than Steve Smith is a devotee): even record sellers such as Insound and Other Music have made room for them again.
Read moreTime Out New York’s Steve Smith is sparing with the 5-star CD reviews, but he gave his highest score to Drawn Only Once, Due East’s New Amsterdam release. It features two beguiling multimedia works by John Supko, which feature video, electronics, Due East (Erin Lesser, flute and Greg Beyer, percussion), as well as a number of other instrumentalists and vocalists. These various elements are overlaid in a busy patchwork quilt, sometimes contemplative, at others dizzying: but it’s always a beguiling sound world. Despite the sometimes dense colloquy of events found on Drawn Only Once, the release will likely draw listeners back
Read moreLast month at Columbia University’s Italian Academy, I was formidably impressed by an evening of madrigals old and new performed by the vocal ensemble Ekmeles. One of the revelations of the evening began with an idea ofensemble director Jeff Gavett. He thought that the madrigals of Carlo Gesualdo might benefit from Nichola Vicentino’s 31-tone equal tempered scale, most famously employed in the tuning of an instrument of his design, the archicembalo. While, as Gavett admitted in the concert’s program notes, there is not direct evidence that they were ever performed this way in the presence of Gesualdo, there is some documentary
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