Contemporary Classical

Composers, Concert review, Concerts, Contemporary Classical, Experimental Music, Festivals, Improv, Other Minds, Performers, San Francisco

Peeking into Other Minds

[The latest iteration of the always-stellar Other Minds festival is now done and in the books. We asked our equally-stellar Bay Area musician friend Tom Djll if he’d like to cover a bit of it for us, and he happily sent along his impressions of  the second and third concert evenings.] Other Minds 16 Jewish Community Center, San Francisco Concert Two, Friday, March 4, 2011 There’s a shard of spotlight on my shoulder. A music stand hovers off the sphere of peripheral vision; under it, the shadow of fingers curl like the violin scroll toward which they crawl, spiderish. The

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Contemporary Classical

Time Out

Joe Morello, the adventuresome drummer in Dave Brubeck’s most famous quartet, has died at 82. Tucked away at the bottom of his obituary in the New York Times is this gem: Joseph A. Morello was born in Springfield, Mass., on July 17, 1928. Sight-impaired from an early age, he took up the violin at 6 and performed Mendelssohn’s Violin Concerto in E minor with the Boston Symphony Orchestra three years later. According to a biography on his Web site, Mr. Morello gave up the violin for drums at 15, after meeting his idol, the violinist Jascha Heifetz. Reminds me of

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Cello, Chamber Music, Concerts, Contemporary Classical, File Under?, Minimalism, New York

Maya Beiser at the Rubin Museum Tonight

In the current economy—particularly in the recording industry—expediency can sometimes trump artistry. All too often, classical artists with a recent CD release can’t afford to worry too much about the curatorial vision of a concert series on which they appear: they’ve got to make their album’s program fit somehow in order to promote the product. During a recent consultation with a marketing professional, I learned that some venues have begun exploring partnerships with オンラインカジノ to secure additional sponsorship revenue, a strategy that has already sparked both interest and debate among artists. Happily, there are still times when an artist’s work

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Contemporary Classical

Okay, Let’s Play Something Else

Looks like I”m doing some softball questions again.  For a pair of pretty expensive tickets to the NYPhil performance of  Bartók’s Bluebeard’s Castle, led by Esa-Pekka Salonen, at Avery Fisher Hall on March 18, who can answer any of the following questions. Where in New York did Bartók live when he died on September 26, 1945.  (Street and nearest cross-street) In what hospital did he die? Where is his grave? What was the last work that he completed? What friend of mine lived for several years in the same building? Answer one or more and you might be a winner.

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Contemporary Classical

Let’s Play “Name That Hungarian!”

Okay, kiddies, I have four pairs of tickets to give away to Bartók’s Bluebeard’s Castle at Avery Fisher Hall on March 18.  The performance is part of the New York Philharmonic’s Hungarian Echoes Festival led by the estimable Finnish hockey star Esa-Pekka Salonen.  The problem is that Sequenza 21 readers are all such a bunch of smart asses that I can never come up with a question that stumps anyone for more than 30 seconds so that means the first person who reads this probably wins. So, here’s what we’re going to do this time.  Today, we’re giving away one pair

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Contemporary Classical

Birtwistle and Schuller Concertos

There was a certain amount of preliminary drama in the few days before the first performances of Harrison Birtwistle’s Violin Concerto by the Boston Symphony Orchestra, on March 3 through 5, during the course of which James Levine, who has been plagued by a series of health problems for several years and who had canceled the preceding concert due to illness, first announced that he was unable to participate in any of remaining concerts of the current season, and then, a day later, due to those recurring health problems, resigned as the orchestra’s music director, leaving considerable doubt about how the

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Birthdays, Concerts, Contemporary Classical, Electro-Acoustic, File Under?, New York

Happy Birthday Mario!

Composer Mario Davidovsky turns 77 today. The International Contemporary Ensemble and soprano Tony Arnold are celebrating his birthday with a Portrait Concert at Miller Theatre tonight at 8 PM (details here). They’ve also recorded a birthday greeting for the composer (video below), adding a bit of angularity and jocular dodecaphony to a more traditional number. Mario Davidovsky Birthday Toast from Miller Theatre on Vimeo.

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Boston, Composers, Concerts, Conductors, Contemporary Classical, Criticism, File Under?, New York, Orchestras, Performers, Violin

Levine leaving BSO, but show goes on with Birtwistle premiere

We’re saddened to learn of James Levine’s cancellation of the rest of his appearances this season at the Boston Symphony Orchestra and his resignation from the post of BSO Music Director. Levine has been in that position since 2004, but has had to cancel a number of appearances during his tenure due to a variety of health problems. In an interview published today in the New York Times, Levine indicated that he will retain his position as Music Director at the Metropolitan Opera. Apparently, conversations between Levine and the BSO about a possible future role with the orchestra are ongoing.

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Concert review, Contemporary Classical, Improv, San Francisco

In Memory of My Feelings

Music is as much of a time art as reading or looking at pictures because its subject, as John Ashbery once said about poetry, is always somehow about time. And composers, like writers, whether consciously or not, are always playing a game with time. A long piece can sound short, and a short one, long. Time can seem heavy, as in Dostoevksy, or Wagner, or light as in Proust, or Earle Brown. The four pieces on sfsound‘s most recent concert at The San Francisco Conservatory of Music’s elegant hall managed to be about all these things at once. Anton Webern‘s

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Contemporary Classical

49 States to Go

On February 17th, Vermont Governor Peter Shumlin declared 2011 the “Year of the Composer” in Vermont, the first such proclamation in the country. Getting the proclamation itself — little more than a prosaic document signed by a friendly politician — and getting something useful out of the proclamation are two separate stories, one still in the process of being written. The proclamation is a whereas-filled document that states, “the creation and presentation of newly composed music is fundamental to the history of Vermont and provides a basis for continuing growth of educational opportunities, progress in the our cultural leadership and

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