Composers

Composers, Concerts, Conferences, Contemporary Classical, Minimalism

Blängen the Schlingen with Charlemagne Palestine

palestinePwyll ap Siôn is a composer and Senior Lecturer in music at Bangor University in Wales (UK). His strong interest in Minimalism (he’s written a book on Michael Nyman) led to his co-hosting of the first International Conference on Minimalist Music in 2007. He also made his way across the ocean for the second iteration of the conference, held last September in Kansas City, MO.  Pwyll asked if S21 might like to print a few of his reactions and thoughts from the conference, and we said sure thing:

At the Second International Conference on Minimalist Music last September, hosted by the University of Missouri at Kansas City, part of the evening events led me to the Grace & Holy Trinity Cathedral to hear composer, performer and improviser Charlemagne Palestine.  He is something of an enigma; when John Adams attended a rare performance in the 1980s, Palestine walked out after twenty minutes, leaving the audience baffled. Even those who have already seen him have no idea what to expect.

I enter the dim glow of the cathedral and notice two things: first, the sound of a drone — two notes, a fifth apart (a little like La Monte Young’s infamous Composition 1960 No. 7: two notes with the instruction ‘to be held for a long time’). The drone is low in dynamic but high in register, its reedy timbre adding a slight edge to the ambiance, but this is otherwise a rather inauspicious introduction. Secondly, there’s a merry gaggle of teddies and puppets neatly arranged on a table near the entrance, all of which appear to be wearing scarves or ribbons. I am told that this is de rigueur in the eccentric world of Palestine. But nothing quite prepares me for what follows.

We are politely informed that the performance has already begun despite the fact that the audience is milling around, chatting casually or ambling up and down the aisles. The atmosphere is relaxed, however, and we are told that the unpredictable Palestine is (literally) in high spirits, on his second (large) glass of cognac, and has extended an invitation to members of the audience to visit the organ loft situated at the rear of the cathedral. We have to take off our shoes to do this – a complicated process since it is almost completely dark at the back of the nave – and just as we are about to be ushered by an assistant up the staircase, there is a frisson of activity from above, and the man himself appears, wine glass in hand, wearing a panama hat and dressed in bright, colourful clothes.

He strides purposefully past us towards the altar, raising his voice to speak. Rather like the drone, which continues to sound in the background, his voice is high-pitched and nasal. He announces that he will be playing Schlingen-Blängen, which has not been performed (spoken ostentatiously) ‘in the United States of America’ for decades. But he’s rambling on incoherently, maybe the cognac’s starting to take effect, and I’m starting to doubt all the hype. This increases as he proceeds to produce a ringing sound by rubbing his finger around the wine glass while emitting a series of pitches in a childlike voice.

With the performance rapidly descending into banality Palestine stops singing, abruptly turns on his heels down the aisle and back up the organ loft. Seizing the opportunity the Belgian musicologist/critic Maarten Beirens and I follow him up the stairs. Oblivious to the fact that we’re there, he is entirely absorbed in his own sound world and starts to perform.

(more…)

by Steve Layton
Classical Music, Composers, Recordings

Seeing what was coming right from the start

Composer Sir Arthur Sullivan (1842-1900, of Gilbert & Sullivan fame) happened to be one of the earliest voices captured, in 1888, by Thomas Edison’s then-new wax-cylinder recording machine. Invited to dinner at Edison’s London outpost, Little Menlo, Sullivan recorded this small but prescient speech (which you can hear thanks to the Thomas Edison National Historical Park):

” . . . For myself, I can only say that I am astonished and somewhat terrified at the results of this evening’s experiment — astonished at the wonderful power you have developed, and terrified at the thought that so much hideous and bad music may be put on record forever. ”

[Thanks to wonderful pianist Seda Röder for the tip. The complete Edison archive can be found here.]

by Steve Layton
Choral Music, Composers, Concerts, Contemporary Classical, New York

Concordance later, but first a saxy song

New and specialized ensembles, groups of composers and performers banding together, DIY concerts and record labels… All the stuff of now. But let’s pay a little respect to New York’s Composers Concordance, who’ve been DIY-ing it for a good 25+ years now.

Their latest outing is a marathon show, Jan. 31st (6:00 pm doors, 7:00-10:00pm performance time at the club Drom, 85 Avenue A, between 5th & 6th, New York, NY. 212-777-1157)

No less than 23 composers are on the bill: Roger Blanc, Thomas Bo, Luis Andrei Cobo, Charles Coleman, Dan Cooper, Larry Goldman, David Gotay, Patrick Grant, Franz Hackl, Don Hagar, Arthur Kampela, Alon Nechushtan, Daniel Palkowski, Milica Paranosic, Akmal Parwez, Joseph Pehrson, Gene Pritsker, Paola Prestini, Jody Redhage, Kamala Sankaram, William Schimmel, Andrew Violette, and Theodore Wiprud.

Gene Pritsker, Composers Concordance co-director, talks about the concept for this presentation:

“We are exploring the relationship composers have with their instruments and how they go about writing music in which they know that they will be the performer. Dan Cooper and I talked about assembling a large group of composers and requesting a four minute composition from each. We are programming them back-to-back in a marathon setting and constructing a performance that highlights the composer as a performer: short compositions as vehicles for direct expression, from the composer’s mind to body to the audience.

We selected 150 composers and e-mailed them all on a secretly chosen day and time. The first 23 to respond to this e-mail were programmed for the event. We created a random criterion as opposed to a competition for choosing the participating composers, though all 150 candidates were composers whom we, the Composers Concordance directors, knew and respected.”

Tickets are $10, but there’s a two-drink minimum, so the later pieces are likely to start sounding all warm and fuzzy…

…………………………………………………….

If you really want to make Jan. 31st a full-music day in the city, at 3pm prior you could head to St. Ignatius of Antioch Episcopal Church (552 West End Avenue at 87th Street) to hear The New York Virtuoso Singers, The Raschèr Saxophone Quartet and conductor Harold Rosenbaum take on a concert of works for winds and choir. On the program is the US premiere of BMI Young Composer Award recipient Rafael Nassif ‘s piece for for three choirs and three trombones [wait, I thought we were talking saxes here?…], and a world premiere by our own S21 contributor and great pal Rob Deemer, plus works by Stefan Thomas and Jouni Kaipainen.

Tickets: $20; Students and Seniors: $15 TDF vouchers accepted. Tickets available at the door one hour and 15 minutes before concerts, or call Ticket Central at 212-279-4200. And there’s a 2pm pre-concert talk for you earlybirds, with the Raschèr Quartet.

by Steve Layton
Books, Canada, Composers, Contemporary Classical, Interviews

Talking with composers, Canada and beyond

Each generation of composers coming up through college is always a little dismayed to find their music history survey books fizzling out in their descriptions current composers. Maybe one compressed chapter at the end, with a jumble of names or the barest of thumbnail sketches. Half are already only half-remembered, and the other half are musicians you desperately want something, anything more from or about!  Yet often somewhere out there beyond the curriculum, there’s another kind of book; one some dedicated fan, critic or participant created,  providing fuller sketches and often interviews with the people that matter most to them in the here and now (one such that mattered greatly for me in the 1980s was John Rockwell’s All American Music).

Another of my little quirks is a strong liking for a number of recent and contemporary Canadian composers. I have no idea how it happened — other than perhaps years of government funding and a certain image of some “outsider” isolation and independence — but to my ears Canada has produced a remarkably large group of surprising and creative musicians.

So I was very happy to see that one of the latest “catch-up” books on composers comes from a Canadian perspective. Paul Steenhuisen, a fine Canadian musician in his own right, has recently published Sonic Mosaics: Conversations with Composers (University of Alberta Press, 2009), a collection of interviews with (mostly) living composers from America, Europe and Canada.

We asked another Canadian musician and journalist, John Oliver, to review the book:

……………………………………………….

Sonic Mosaics is a book of interviews conducted by composer Paul Steenhuisen over a three-year period from 2001-2004. Over half of the interviews were commissioned by Toronto’s monthly, short-run music publication WholeNote on the occasion of a composer’s presence in the city for a premiere performance or CD release. Two were originally published in Musicworks magazine and the rest were conducted by Steenhuisen afterward to complete the book and attempt to represent more Canadian composers.

Steenhuisen gets full marks for disclosure: he reveals the shortcomings and strengths of the book in the introduction. Although the book contains a large number of interviews with Canadian composers, the author admits that it is by no means representative of the entire country. The reader is treated to six interviews with non-Canadian composers, three of which occur as a result of a composer’s appearance as a guest of New Music Concerts. Five are with the most senior generation of international contemporary music “stars”: Pierre Boulez, George Crumb, Mauricio Kagel, Christian Wolff and Helmut Lachenmann; the sixth is UK composer Michael Finnissy.

Equivalent Canadian senior composers include R. Murray Schafer, John Weinzweig, Udo Kasemets, John Beckwith, and Francis Dhomont. Yet equivalent senior composers of Quebec and the rest of Canada are not represented. The rest of the interviews give a glimpse into the creative minds of primarily composers who reside in the province of Ontario. Place-of-residence analysis reveals that, of the 26 Canadian interviewees, 16 reside in Ontario, 6 in Quebec, 3 in British Columbia, and one in Alberta: not an accurate proportional representation. The reader may also note that over half of composers represented here teach at universities, an understandable bias given the author’s background and the general tendency in Canada for composers to gain a livelihood from teaching. If this represents only a subset of important Canadian composers, the reader’s curiosity will be aroused to seek out information about more as a result of reading this book. A second volume is in order.

(more…)

by Steve Layton
Composers, Concerts, Contemporary Classical, Los Angeles, New York, Online, Premieres, Radio

Incoming

Head’s up on a couple things this coming week that caught my eye:

WPRB’s Marvin Rosen is doing a special edition of his Classical Discoveries radio show this Wednesday, Jan. 27th. From 5:30 until 11:00 AM EST. Titled “East Meets West“, the entire five-and-a-half  hours will be devoted to works by Middle and Far Eastern Composers, as well as to works by Western composers inspired by these regions. A special treat in the 10-o’clock hour will be the world premiere broadcast of the Sonata for solo viola Op. 423 (1992) by Alan Hovhaness (1911-2000), performed by Christina Fong (from a brand-new OgreOgress release).  Then from 11AM until 1PM, Marvin’s guest will be composer/improviser/percussionist Lukas Ligeti. A swell time all around, and as always no matter where you are your computer can bring you the broadcast live.

If you happen to be on the other coast that same day (Jan. 27th), you’re in for a treat if you head to the Pasadena Central Library (Donald R. Wright Auditorium, 285 E. Walnut St.) at 6PM PST, for a concert presented by Cellogrill (über-cellist Jessica Catron) and the Pasadena Creative Music Series.  The concert opens with the world premiere of composer Cat Lamb’s Branches for just-intoned female choir assembled especially for this occasion. Next up, MISSINCINATTI follows with folk songs of land and sea; forgotten tales about fantastical crocodiles, maritime ghosts and work in the mines illuminated before your very eyes with the assistance of many special musical guests. And finally, the compositions of RATS can confound and delight like a musical retelling of The Wizard of Oz by Captain Beefheart. And all this for the princely sum of FREE.

by Steve Layton
Chamber Music, Composers, Concerts, Contemporary Classical, San Francisco

Unwrapping Small Packages on a Saturday Night

Gyorgy Ligeti
Gyorgy Ligeti

I like to plan ahead.  But does that just mean I’m too old to decide where I’m going at the last minute, like the Generation Y and Z impulsives we hear so much about at arts participation conferences?  You know, the ones who don’t know where they’re going until somebody they’re following tweets their destination on the night of?

Mid-life insecurities and fuddy-duddiness aside, I know where I’ll be this coming Saturday evening: in the San Francisco Conservatory of Music’s sweet new Concert Hall, taking in new short works by ten local composers, all presided over grandly by Gyorgy Ligeti’s Chamber Concerto for 13 instruments.  sfSound is the presenter, and they’ve cast a wide commissioning net to figures from our many micro-scenes.  Including, as my colleague Christian Carey reported earlier this month, Greg Saunier from avant-prog adventurers Deerhoof; plus Heather Frasch, a Ph.D. candidate at UC Berkeley, Canner MEFE of underground harsh noise fame, Mills College Contemporary Music Co-Director Maggi Payne, and composer/improviser/performance artist Theresa Wong.

All of the composers were commissioned to make new works especially for this concert, entitled Small Packages. Some works are inspired by, and others are meant to contrast with, the regal Ligeti Chamber Concerto. The eight core sfSound performers, plus seven other veterans of the series, will spread their expertise around from the Ligeti work to each of the new pieces.

The San Francisco Conservatory of Music Concert Hall can be found at 50 Oak Street in San Francisco’s Civic Center neighborhood, convenient to the eponymous BART station.  Admission is $15.00, although those of us who are “underemployed” can take advantage of an $8.00 price.  If you don’t want to take your chances at the door, you can order tickets online from Brown Paper Tickets.

by Polly Moller
CDs, Composers, Contemporary Classical, Opera

Dr. Atomic as Opera or Symphony?

Many people are still talking about the New York production of John Adams’ latest opera, Dr. Atomic. But Adams wasn’t through with the material after its stage presentation.

Nonesuch recently released a symphonic version of music from Dr. Atomic; Dr. Atomic Symphony is paired with Guide to Strange Places on the CD.

There’s also a DVD release of the opera, in its Netherlands production, available on Opus Arte.

Sequenza 21 readers: How do you prefer Dr. Atomic, in its operatic or symphonic incarnation? The comments section is open for feedback.

by Christian Carey
Classical Music, Composers

Lawrence Dillon’s The Infinite Sphere Debuts

Our own Lawrence Dillon’s The Infinite Sphere will be given its World Premiere performances by the Daedalus Quartet tonight,  Friday, January 15 – 8 PM as part of the Discovery Series at The Barns at Wolf Trap  in Vienna, Virginia and on Saturday,  7:30 PM at Watson Chamber Music Hall of the University of North Carolina School of the Arts in Winston-Salem.

Commissioned by the Daedalus Quartet in conjunction with the Thomas S. Kenan Institute for the Arts, Dillon’s fourth quartet takes Pascal’s reference to “an infinite sphere, whose center is everywhere and whose circumference is nowhere” as the inspiration for a virtuosic wheels-within-wheels journey.

The fourth quartet in Dillon’s Invisible Cities String Quartet Cycle — a set of six quartets that explore connections between Classical forms and contemporary experience — The Infinite Sphere not only takes the form of a Classical rondo, it also adopts the rondo spirit, using popular dance music as material.

Winner of the 2007 Guarneri String Quartet Award from Chamber Music America, the Daedalus String Quartet is the resident quartet for the University of Pennsylvania and Columbia University.

Lawrence is Composer in Residence at the University of North Carolina School of the Arts and currently has commissions from the Emerson String Quartet, the Mansfield Symphony, the Boise Philharmonic, the Salt Lake City Symphony, the Daedalus String Quartet, the University of Utah Philharmonia and the Idyllwild Symphony Orchestra.

by Jerry Bowles