The New York Philharmonic has made significant strides to renew its commitment to contemporary classical music this season. Curated by composer-in-residence Magnus Lindberg and conducted by music director Alan Gilbert, April16th’s Contact! series performance was a compelling program stirringly performed. Sean Shepherd‘s These Particular Circumstances proved a vibrant opener. A bassoonist as well as a composer, he’s a fine orchestrator. Its also clear that, while at Cornell for his DMA, he learned a lot about Lutoslawski from Steven Stucky, as his language incorporates insights from both composers. Shepherd’s music has a wonderful way of making the orchestra shimmer. He took advantage of
Read moreBig news in the orchestra world. Starting next season (2010-’11), George Manahan will become the American Composers Orchestra’s Music Director. He will continue as Music Director at the New York City Opera. In my view, this is good news indeed. Manahan is a superlative musician; he’s conducted some excellent performances of contemporary fare at NYCO. One hopes that his name will entice new audience members to check out the ACO. Kudos as well to outgoing director Steven Sloane, who’s done an admirable job with the ensemble since 2002. Thoughts on the shakeup? The comments section is open below!
Read moreMy long-time favorite MP3 download site eMusic has its own little online magazine. One of its features is “Jukebox Jury”, where a musician sits down with the interviewer to chat while listening to and commenting on various tracks played. The latest guest is none other than the N.Y. Philharmonic’s new Music Director, Alan Gilbert. The interview covers a lot of ground in a nicely casual way, with Gilbert listening and then giving his take on everything from his own conducting of Mahler’s 9th Symphony, to tracks featuring Christopher Rouse, Magnus Lindberg, Art Tatum, Uri Caine, John Adams, even The Field
Read moreReceived a blurb from the LA Phil the other day, which in all caps proudly declares “LA PHIL LAUNCHES MICROSITE CELEBRATING INCOMING MUSIC DIRECTOR GUSTAVO DUDAMEL” … Kaboom!… Here’s the relevant bit (my bolds): On September 24, 2009, the LA Phil launched a microsite celebrating the arrival of incoming Music Director Gustavo Dudamel. Introducing audiences worldwide to Gustavo in new and engaging ways, the comprehensive microsite, located at http://www.laphil.com/gustavo, features videos such as Gustavo’s first rehearsal with the YOLA Expo Center Youth Orchestra, the LA Phil’s video tribute “Welcome Gustavo,” and the press conferences unveiling Gustavo’s inaugural season and appointment
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Composers, Conductors, Electro-Acoustic, Experimental Music, Festivals, Improv, Interviews, Music Events, Opera, San Francisco
The San Francisco Electronic Music Festival celebrates its 10th anniversary this week. On the final festival night, Saturday, September 19th, the program will include a special all-electronic performance of the opera I, Norton, by San Francisco Bay Area composer Gino Robair. I, Norton is based on the proclamations of Norton I, Emperor of the United States and Protector of Mexico, who lived during the Gold Rush era in San Francisco. The concert begins at 8:00 p.m. at the Brava Theater Center, 2781 24th Street, San Francisco. Tickets are available online from Brown Paper Tickets. Gino Robair has created music for
Read moreOne of the simple rules for the podcast is that there is a new episode every two weeks. That rule was broken in July when all four members of ETHEL were featured. And, that rule is being broken again in September when four musicians based in Chicago will be featured. The month starts out with conductor Cliff Colnot (best known for his work with Contempo, Chicago Symphony’s MusicNow, ICE, and others). Cliff is a unique person in that he feels so strongly about notation and rehearsal efficiency, that he has produced documents outlining the way he likes to see things
Read more(Thanks to Kevin Austin, who runs the Canadian Electroacoustic Community e-mail list, for pointing this one out): Every serious classical listener/collector has spent time probing through the hiss, pop and crackle of early monophonic 78 and 33 rpm recordings; though the sound is tinny and boxed in, they love the magical feeling of somehow being brought closer to some vital moment, performer or composer. Until 1958 people could only buy monophonic records; some might have heard stereo sound previously in a few push-the-envelope films like Fantasia, but for at least a couple generations mono was all they had. Yet there
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