Blue Heron: The Lost Music of Canterbury Music Before 1800 Corpus Christi Church February 10, 2019 Sequenza 21 By Christian Carey NEW YORK – On February 10th, the Boston-based early music ensemble Blue Heron made one of its regular appearances at the Music Before 1800 series at Corpus Christi Church in Morningside Heights. Directed by Scott Metcalfe, an ensemble of a dozen vocalists performed five selections, all votive antiphons, from the Peterhouse Partbooks. Copied by John Bull during the reign of Henry VIII, the partbooks now reside at Peterhouse College of Cambridge University. The tenor book is missing, as are
Read moreOn Saturday, February 9, 2019 the Southland Ensemble presented New Experimental Works at Automata in downtown Los Angeles. This concert was the result of Southland’s inaugural Call for Scores issued last year. With more than 200 responses, seven pieces utilizing graphic and text scores were ultimately chosen for this performance. Automata was completely filled while outside the Chinese New Year celebrations were in full swing with lanterns, firecrackers and enthusiastic crowds. The concert opened with all are above us (2017), by Nomi Epstein the noted Chicago-based composer and educator. The program notes state that “Her music centers around her interest
Read moreFred Hersch Trio Village Vanguard January 5, 2019 Sequenza 21 By Christian Carey NEW YORK – Beginning the new year with a six-night long residency at the Village Vanguard, pianist Fred Hersch had a lot to celebrate. His current trio, in which he is joined by bassist John Hebert and drummer Kevin McPherson, has been together for a decade. They have received a Grammy nomination for their 2018 Palmetto Records CD Live in Europe. In December, Palmetto released another recording of Hersch in a trio setting, this one from 1997 with bassist Drew Gress and drummer Tom Rainey. 97
Read moreThe latest wasteLAnd concert at Art Share in downtown Los Angeles was Friday, December 14, 2018 and drew a good sized crowd for five works featuring percussion and voice. Soprano Stephanie Aston and percussionists Dustin Donahue, Sean Dowgray and Ryan Nestor were on hand for a concert whose title, Capacity, was taken from the middle movement of a work by wasteLAnd featured composer Katherine Young. The first piece on the program was Difficulties Putting it Into Practice, by Simon Steen-Andersen. Ryan Nestor and Sean Dowgray arrived on the stage and seated themselves at a table containing a number of paper
Read moreThe December Tuesdays@Monk Space concert was titled Grinding Sounds, Repeating Patterns and Sonorous Incantations and was curated to take advantage of the friendly acoustics of Monk Space for just such music. As Aron Kallay noted in the program notes: “Not every hall is good for every combination of instruments and in many ways Monk Space takes this to the extreme. Two things the space absolutely loves are low strings, and voice.” Accordingly, Scott Worthington was on hand with his electrified contrabass and the Hex Vocal Ensemble provided the sonorous incantations. The first piece was I Feel Pretty, by David Lang,
Read moreSimone Dinnerstein in Recital Miller Theatre – Columbia University December 8, 2018 Published on Sequenza21.com By Christian Carey NEW YORK – On Saturday, December 8th, pianist Simone Dinnerstein made a return appearance to Miller Theatre to perform an intriguing and eclectic solo recital. The stage was set with subdued lighting, with electric “candles” placed throughout and, over the course of the evening, small shifts of color. Ms. Dinnerstein, dressed in elegant, flowing attire, created an atmosphere through her performance demeanor as well. The recital was announced with no intermission and the pianist paused from playing only once, midway
Read more[Ed. note: Former S21 contributor, member, and friend David Salvage has in the last couple years pulled up his U.S. tent pegs and landed in Italy. He’s offered up his review of the latest György Kurtág premiere last month at La Scala.] …………………………………………………. After decades of prodding, false starts, intense study, delays, and, finally, seven years of composing, György Kurtág, at age ninety-two, has written his first opera. For its subject matter, he has chosen Samuel Beckett’s Endgame, a play he saw during its initial run in Paris in 1957 and has loved ever since. World premieres don’t get any more hotly
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Choral Music, Commissions, Concert review, Contemporary Classical, early music, File Under?, New York
Tallis Scholars: A Renaissance Christmas Miller Theatre Early Music Series Church of St. Mary the Virgin December 1, 2018 Published on Sequenza 21 By Christian Carey NEW YORK – The Tallis Scholars, directed by Peter Phillips, made their annual appearance in New York as part of Miller Theatre’s Early Music series at the Church of St. Mary the Virgin in Midtown. The program was billed as a dual celebration — the 45th anniversary of the Tallis Scholars and Miller Theatre’s 30th anniversary season. In honor of the occasion, Miller Theatre commissioned a new piece for the Tallis Scholars
Read moreThe Soundwaves new music series and Piano Spheres teamed up to present Garlands for Steven Stucky, a concert of piano music performed by Gloria Cheng. Steven Stucky was a long-time composer in residence at the Los Angeles Philharmonic, and his untimely death in 2016 touched his many friends here deeply. Garlands for Steven Stucky is a memorial tribute in the form of a CD album of short piano pieces contributed by no less than 32 students and musical colleagues. Each piece is short – just two or three minutes – and this concert at the Santa Monica Public Library offered
Read moreStile Antico in Concert October 13, 2018 Church of St. Mary the Virgin By Christian Carey NEW YORK – The first concert in Miller Theatre’s 2018-19 Early Music Series, given in midtown at the Church of St. Mary the Virgin, presented the acclaimed choral group Stile Antico from the UK. They have made regular appearances on the Miller series. As is their custom, Stile Antico sang without a conductor in a semicircle facing front. The occasional setup change consists of singers changing formation and, in pieces in which the full ensemble isn’t required, “extra” singers sit down. They
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