Contemporary Classical

Chamber Music, Composers, Concerts, Contemporary Classical

A few for the week that will be

Some notable NY concerts worth taking up space for:

wedren & acme

Tuesday, Aug 4th, at Joe’s Pub ( 425 Lafayette Ave., NYC / Tickets: $15 at joespub.org or 212.967.7555) ACME (the American Contemporary Music Ensemble) is teaming up again with vocalist Craig Wedren, to present composer Jefferson Friedman’s genre-bending 3-song set titled On in Love, written for the ensemble and singer/songwriter Wedren (formerly of the band Shudder To Think). ACME and Wedren premiered On in Love in February at Columbia University’s Miller Theatre, and you can see video of that performance at Friedman’s own website The concert at Joe’s Pub will also include John Cage’s String Quartet in Four Parts (performed by ACME) and his Aria (performed by Wedren). Wedren will also perform a set with his band and ACME strings.

And on Sunday afternoon, Aug 9th ACME‘s back in action at the Isamu Noguchi Museum (9-01 33rd Rd., L.I.C., NY / Info: www.noguchi.org or 718.204.7088 / FREE w/ $10 Museum admission), this time with the premiere of a new string quartet by ACME’s ace composer/violinist Caleb Burhans. You also get selections from J. S. Bach’s Art of the Fugue (arr. for string quartet), Jefferson Friedman’s String Quartet No. 3, and Mendelssohn’s String Quartet in F, Op. 80, so all-in-all a mighty nice deal.

Speaking of nice deals, nothing’s nicer than FREE! Which is just what it’ll cost you to experience the Asphalt Orchestra (Jessica Schmitz, piccolo; Alex Hamlin, Peter Hess and Ken Thomson, saxophones; Shane Endsley and Stephanie Richards, trumpets; Jen Baker and Alan Ferber, trombones; Ken Bentley, sousaphone; Sunny Jain, Nick Jenkins, and Yuri Yamashita, percussion) as they open Lincoln Center Out of Doors Wednesday, August 5. The band will perform the next four nights, Thursday-Sunday, August 6-9. Performances will take place nightly at 7:00 P.M. in different locations across the Lincoln Center campus.

The scrappy group’s debut program spans an amazing range of material, including new commissions by Tyondai Braxton of Battles, Stew and Heidi Rodewald of The Negro Problem and Passing Strange, and celebrated Balkan musician-composer Goran Bregovic, plus music by Björk, jazz legend Charles Mingus, Swedish metal pioneers Meshuggah, and those classic instigator/composers Conlon Nancarrow and Frank Zappa.

For those of you who’d love to slouch off to play at the Hamptons (though has it ever stopped raining enough to think about sea and sand?), yet want to stay moderately ‘culturefied’ while you’re at it, the Bridgehampton Chamber Music Festival is off and running. In addition to the warhorses, there are two actually quite wonderful contemporary concerts taking place:

Real Quiet will be heard on Aug 6th in a program featuring the US premiere of Pimpin’ by Jacob Ter Veldhuis as well as works by Evan Ziporyn, Chinary Ung and Brett Dean.

Then on Aug 11th , Brooklyn Rider performs “Crosstown” and “Plume” by composer Ljova (Lev Zhurbin) along with works by Philip Glass, Toiva Karki and Komitas Vardapet.

Contemporary Classical

Parting is Such…A Song for David Salvage

david4One fateful morning in the fall of 2004, I opened the door to pick up my New York Times and found instead a wooden basket containing a pale homo sapien wearing large black glasses who appeared, at first glance, to be a nerdish cousin of Edgar Winter but, as it turned out,  was a young  graduate student named David Salvage, fresh out of Sweet Apple, Ohio.   David was pursuing a Ph.D. at CCNY while earning a few bucks on the side as a loneliness counselor at the late, lamented Tower Records classical shop.

This is about the time that I had decided to transform Sequenza21 into something more substantial than a pretext to get some free CDs and began switching the site to a blogging community. I recognize free labor when I see it and David was eager to help. He began doing reviews and writing posts and bringing other bright young composers and musicians into the family.

By 2006, the site was doing pretty well and David (along with another odd young man named Galen Brown) took the lead in organizing the first ever Sequenza21 live concert, persuading CCNY to lend us a space, and organizing musicians and all that.  It was roaring success despite the fact that it ran so long we didn’t get to eat David’s mother’s cookies and I got stuck with a $300 post-concert bar/restaurant tab because nobody would go home.

David and Galen were also the prime organizers of two terrific Sequenza21 concerts last year, in partnership with the Lost City Ramblers…what?  Oh, the wonderful Lost Dog Ensemble–one in Queens and one Manhattan.  I am happy to report that none of the Sequenza21 concerts involved any effort from me other than mailing the occasional check.

I talked to David dad at this year’s Manhattan concert and got some sense of what it is like for a perfectly normal, non-musical, Frank and Dino-loving, middle-class family from Sweet Apple, Ohio to be invested with a spooky kid who climbs up on the piano bench and starts noodling Bach at five-years-old and whose piano teacher tells you after a few months of training that “he’s got to have a better piano.”  Dad is still reeling from the sticker shock.

Dad has reason to be pleased now because David finally has a real job.  After a couple of busy years of indentured servitude for CCNY in Brooklyn, David finished and successfully defended his dissertation (on the other Hungarian, not Ligeti), got his doctorate, and is leaving New York this week to begin his new tenure-track position as an instructor in theory and composition at Hampden-Sydney College, located, oddly enough, in Sweet Apple, Virginia.

He assures us that he is not abandoning Sequenza21 and will be contributing from time to time and possibly even organizing a Sequenza21 concert in Washington,  which is the closest civilization to Sweet Apple.  Any co-conspirators in the DC area are invited to co-conspire.

All kidding aside, I have come to love David.  He’s done terrific things for Sequenza21, the concerts would not have happened without him. We wish him all the best.

Contemporary Classical

Miss the Mississippi

 

evebFrom:  Eve Beglarian

hi my friends,

some of you already know that I’ve developed an obsession with the Mississippi River and its place in American culture, politics, and geography. I’ve spent the last several months getting ready to journey down the river at a human-powered pace, investigating what the river means at this particular moment in our shared lives. I’ll be starting at the headwaters at Lake Itasca, Minnesota on August 1 and expect to arrive in New Orleans in late November or early December. I’ll make work in response to the journey, and then next season I imagine traveling back up the river retracing my path, performing the work I’ve made in response to the first trip.

I have designed the trip not as a solo journey but as a shifting set of collaborations with various friends and colleagues who will be traveling with me for shorter or longer periods, shaping my perspective in varying ways depending on their passions and interests. My first two collaborators are the linguist and historian Richard Steadman-Jones, with whom I will be working on a project called Archive of Exile, and Mac Walton, a musician and adventurer with whom I share many interests that will undoubtedly take shape in some fun way I can’t yet predict.

we will be making the trip by a combination of kayak and bicycle, with a backup car carrying our gear. the three of us just spent a couple of days in Minneapolis getting outfitted with a kayak, (see below for evidence) and we’re leaving tomorrow for Lake Itasca, and I am so excited about all this I can barely speak!

I won’t be sending email announcements like this very often if at all over the next few months, so before heading out, I’m inviting you to follow along with me on the blog I’ve set up at http://evbvd.com/riverblog/

I think it’d be really great if we can create a community of virtual wayfarers or something like that! you can also follow me on twitter (evbvd) and/or facebook (eve.beglarian) if that’s your thing. and if you want to meet up in person along the way, let me know! while part of this trip feels like some kind of quest or pilgrimage, I don’t imagine it as a retreat in any sense, but an engagement, a seeking, and I invite you to join me in whatever ways might be meaningful to you, whether vicarious or actual.

in the meantime, I hope you have a great rest of your summer!

xoxox

evb

Only if it’s not likely to

Can the believed-in happen.

                       James McMichael

Composers, Contemporary Classical

Scelsi’s ghost

Over at La Folia (for all its simplicity still the most interesting online source for contemporary CD reviews), Grant Chu Covell gives an illustrated account of his visit to the great composer Giacinto Scelsi‘s (1905-1988) house in Rome — now the Fondazione Isabella Scelsi.  No, don’t expect to get any images of the famously photo-shy composer; but there are a number of other great pics and observations.

Composers, Concerts, Contemporary Classical, Experimental Music

SoCal meets SoCar meets Wandelweiser

This Monday night (July 27), 7PM the 701 Center for Contemporary Art in Columbia, South Carolina hosts a concert devoted to a potent movement active on the fringes of (or maybe quietly threading its way all through?) the current classical scene: the Wandelweiser Group.  Described as “the evaluation and integration of silence(s) rather than an ongoing carpet of never-ending sounds,” Wandelweiser was formed in 1992 by Dutch flautist Antoine Beuger and German violinist Burkhard Schlothauer. Their ranks have slowly grown over the years, and include Swiss clarinetist Jürg Frey and pianist Manfred Werder, American guitarist Michael Pisaro and trombonist Craig Shepard, Austrian trombonist Radu Malfatti, and many more. With such a stellar group, and aided by its own publishing operation (Edition Wandelweiser) and its own record label (Wandelweiser Records), quite a following has grown up worldwide.

But it’s rarely heard anywhere near the confines of the traditional concert hall; Wandelweiser music works with extremely delicate, sometimes obsessive, nearly conceptual sound — gestures and patterns seemingly unmoored in expanses of quiet intensity. Even when rigorously calculated, there’s a sense of improvisation; nowadays, since the movement has also attracted many players from the experimental/improv side of the serious music line, that sense is often a reality.

Wandelweiser ideas found their biggest foothold in the U.S. in Southern California, with CalArts as the focus. But now Columbia SC has folds experimental music and performance workshop: Jason Brogan director and guitar; Kieran Daly, performance; Michael Hanf, percussion; Richard Kamerman, electronics; Nathan Koci, horn/accordion; David Linaburg, guitar; Dave Ruder, clarinet; Sam Sfirri, piano; Ron Wiltrout, percussion.

Monday’s concert is titled “Several Silences”, and brings together pieces not only from the South Carolina contingent, but both Europe and Southern California as well: Antoine Beugercantor quartets; Jason Broganmetronomic irregularity; Michael Pisaroharmony series nos. 11a-d; Sam SfirriI gave thanks for evening that brings out the lights; Mark Sothis singular tale of the past; Manfred Werder2008 (1).

If you’re in the area do try and make it; for $10 you’ll get a window into a whole new world.

Bang on a Can, Contemporary Classical, Festivals, New York

Having a MoCA at Banglewood

If you thought there couldn’t possibly be any more we could tell you about Bang on a Can events the past couple months, you’re so so wrong!  Starting today and running to the end of the month, The “Banglewood” summer festival at Mass MoCA is underway in North Adams, Massachusetts. (Mass MoCA is the Massachusetts Museum of Contemporary Art there, and the fest’s co-sponser.)  Head on up to find public performances, workshops for participants in everything from Balinese music to improvisation, master classes, music business seminars, and more.

Festival events open to the public this year include daily gallery recitals at 1:30pm and 4:30pm, free with museum admission; the perennially popular Kids Can Too event (July 18, 11:30am); an afternoon conversation with the big guy — Steve Reich — about Sol LeWitt (July 25, 3pm); a performance by Bang on a Can artists of Reich’s seminal work, Music for 18 Musicians (July 25, 8pm); and what BoaC event would be complete without a Marathon – six hours of non-stop new music featuring more than thirty composers and performers (August 1, 4-10pm). There are also two recitals daily in the galleries at 1:30 and 4:30 from July 16-July 31.  The Marathon will include a performance of George Anthiel’s 1924 classic Ballet Mećanique, John AdamsShaker Loops – heard here in its version for seven solo strings, David Lang’s Pierced, Julia Wolfe’s Dark Full Ride, Michael Gordon’s Potassium, music by Meredith Monk, Frederick Rzewski, and more. In between these events, come and hear music by Todd Reynolds, Eric Chasalow, Daniel Wohl, Walter Zimmerman, Olivier Messiaen, Art Jarvinen, Aaron Jay Kernis, Steve Mackey, Jeff Stanek, Louis Andriessen, Gregg August, Derek Johnson, Brad Lubman, Sarah Kirkland Snider and Morton Feldman.

This year’s Festival faculty members include Gregg August (bass), David Cossin (percussion), Katie Geissinger (voice), Michael Gordon (composition), David Lang (composition), Brad Lubman (conducting), Nicholas Photinos (cello), Vicki Ray (piano), Todd Reynolds (violin), Derek Johnson (guitar), Ken Thomson (clarinet, saxophone), and Julia Wolfe (composition). The Festival will be attended by 10 composers and 24 performers  from across the US, as well as from Russia, South Korea, New Zealand, Scotland, Spain, The Netherlands, Canada, Australia, Kazakhstan and Uzbekistan.

Yeah, it’s not totally free (but not bank-breaking, either) and you’d better bring bug spray, but other than that what’s not to love?

Chamber Music, Composers, Concerts, Contemporary Classical, Electro-Acoustic, Experimental Music, Improv, Music Events, San Francisco

Outsound New Music Summit kicks off on Sunday

San Francisco’s Mission District, home of so much that is cool, is a natural neighborhood for the arts.  The San Francisco Community Music Center located at 544 Capp Street is the the Bay Area’s oldest community arts organization and San Francisco’s largest provider of low-cost, high quality music education.  In 2008, 2,300 students of all ages, ethnicities and income levels enrolled in Music Center programs and over 16,000 people enjoyed musical performances at no or low cost.

Starting this Sunday, the SFCMC will host the eighth annual Outsound New Music Summit, a festival which for all its success and longevity has somehow stayed the Bay Area’s best-kept secret.  Sunday night’s “Touch the Gear” expo is free and open to the public, featuring 20 individual artists and ensembles and their homemade, customized, and startling instruments and electronic rigs.  All of them will be set up and ready to show you, the audient, how to make music and noise like they do.

Four concert nights follow on the subsequent Wednesday, Thursday, Friday and Saturday night. Artist Q & A sessions at 7:15 p.m. each evening set you up for performances starting at 8:00 p.m., starring:

  • Alicia Mangan & Spirit,  ROVA Saxophone Quartet, and Vinny Golia (solo and with locals in a mixed ensemble) in “Free Improvision/Free Composition”
  • Forms of Things Unknown, Peter Kolovos, Conure, Hans Fjellestad, and Thomas Dimuzio in “Industrial Soundscapes”
  • Jess Rowland & The Dreamland Puppet Theater, Kathleen Quillian & Gilbert Guererro, and Bonfire Madigan in “InterMedia”
  • Natto, Ghost In the House featuring Waterphone inventor Richard Waters, and Left Coast Improv Group in “Deep Listening and Introspection”

Full scheduling details and performer bios can be found in the online schedule. Tickets are available in advance from Brown Paper Tickets, or for $10.00 at the door.

Broadcast, Concerts, Contemporary Classical, Proms

Proms 2009, !

proms_guide09

Yes, it’s Proms season again here in the UK/GB (see link for the differences.) The “worlds greatest music festival” kicks off on Friday and I thought I would put together a vaguely ‘contemporary’ programme for those so inclined.

Included are composers who are still alive regardless of ‘style’, and a few 20th century composers I thought relevant (excuse my subjective and rather fuzzy criteria; Stravinsky and Bartók are included for instance, Debussy, Ravel and Shostakovich are not; feel free to berate me in the comments section.)

All the concerts listed will be broadcast live on BBC Radio 3 and will be archived a week or so later on their website (for seven days only).  Also, the BBC normally broadcasts quite a few live on TV (usually on BBC 2); these will be archived on their ‘iPlayer‘ but unfortunately this is not accessible by those outside the UK (if you are not a native get your British friends to set their VCRs or whatever newfangled device people are using these days).

If you fancy making a personal appearance, most of the concerts will be on at the Royal Albert Hall in London with those from the ‘Proms Chamber Music’ series occurring at Cadogan Hall in Chelsea (listed below with the prefix ‘PCM’, Chelsea is also in London if you didn’t already know.) The festival runs from Friday the 17th of July to Saturday the 12th of September.

If you are visiting from outside the UK this might be a good year given how weak the pound is currently (against the US Dollar and the Euro at least.) To buy tickets and to check availability please visit the Royal Albert Hall’s tickets page.

Rather than list each Prom I thought composers in alphabetical order might be more helpful (taken from this page on the BBC site where you can access the full list, including Debussy, Ravel and Shostakovich et al), please click on the links to each piece to get more information about the specific concert.

A couple I am looking forward to are Prom 63 featuring two Xenakis pieces (Aïs and Nomos Gamma) and Prom 65 featuring Ligetis Atmospheres and Schoenbergs Five Orchestral Pieces (in it’s 100th year) conducted by Jonathan Nott. Also it will interesting to see/hear some of the pieces by younger composers I have never heard anything from before such as Anna Meredith, whose piece Left Light is premiered at Prom 32 and Ben Foskett whose From Trumpet has its first outing at Prom 24.

Anyway, without further ado, here is the list… [EDIT: I’ve now added a link to a Google calendar with the dates and details of all the Proms in the list plus a few more I think, thanks very much to Jamie Bullock for putting it together.]

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