Contemporary Classical

Contemporary Classical

NEA Funding Update

Last Thursday, the NEA funding increases survived three hostile amendments in the House and ultimately made it through to approval unscathed.  The most hostile of the amendments, offered by Doub Lamborn (R-CO), would have eliminated funding for the NEA, and was defeated 97-335.  Of those 97 yes votes, 3 were Democrats: Gene Taylor of Mississippi, Ike Skelton of Missouri, and Jim Matheson of Utah.  The Republicans were split roughly 50/50, with 94 ayes and 104 nays.  The closest vote was for the Bishop amendment to move $31.6 Million from the NEA to the Bureau of Land Management, the Fish and Wildlife Service, National Parks, and the Forest Service.  The 156-270 defeat was a 114 vote margin (i.e. 57 people changing their vote from nay to aye would have resulted in a tie.).

Interestingly, the Bishop amendment was the first offered.  The Brown-Waite amendment to remove the NEA increase outright was offered and defeated by a wider margin (137-285) the following day.  The Lamborn amendment was the second-to-last amendment offered, at a point when one imagines that Lamborn knew it had no chance of passage, which leads me to suspect that it was simple posturing rather than a serious threat.  NEA support seems strong, overall, and I am encouraged for the bill’s prospects in the Senate.  Furthermore, this increase has gotten relatively little media coverage, which probably means that the media doesn’t consider it a controversial or otherwise interesting issue.  Given the extent to which the NEA has historically served as a proxy for conservative frustrations with the government, that the nation seems to see this funding increase as routine and unremarkable is probably a good sign for those of us who support a robust NEA.

Contemporary Classical

Requiescat in Pace

forsaul.jpg

One of my dearest friends and a neighbor of many years died this afternoon.  He was a lifelong bachelor who had lost most of the hearing in both ears when an anti-tank gun fired while he was crawling under it in France during World War II when he was 19.  He went on to become a respected man of science, a cancer researcher, and a well-known skeptic of alternative medicine.  He had no tolerance for miracle cures and especially hated those who sold hope to the hopeless with their promises of blood transfers and shark skin enemas and other exotic cures.  He was not warm and cuddly and he didn’t have a lot of friends and I was one of them.  I saw him today about a half hour before he died but the last time we connected was on Thursday, just before he went into that final morpheus cloud.  I was talking to him when he suddenly opened his eyes–for the first time in several days–and squeezed my hand.  His eyes said:  “Don’t be afraid.  It’s not that big a deal.  It’s just science.”  

Classical Music, Contemporary Classical, Opera

Cue the Tenor

So, the wonderful Serbian film director Emir Kusterica’s new opera Time of the Gypsies (based on his zany film of the same name) opened last night in Paris.  Woody Allen is directing Puccini and David Cronenberg is prepping The Fly for L.A.  Anthony Minghella, Michael Haneke, Zhang Yimou. What is happening here? Have we run out of opera directors? Have film directors done operas in the past? Are opera companies just hoping that a high profile director can pack the seats?

Classical Music, Composers, Contemporary Classical

Do Conductors and Performers Make Good Composers?

Joshua Bell tells the Korea Times that he’s working toward writing his own stuff in a few years.  Could work, I suppose.  His pal Edgar Myers is a decent composer and fine musician.  But, you pretty much have to go back to Rachmaninoff to find someone who was “great” as both a performer and composer.  (Or, I’m sure someone will remind me that you don’t have to go back that far.)

Same thing for conductors.  Okay, Lenny was great at both but most are not.  The most excruciating half hour I ever spent in a concert hall (and this includes Chinese opera) was listening to some endless percussion drivel by Michael Tilson Thomas that he had forced upon the poor kids in the New World Symphony.  I really admire Esa Pekka but I just can’t warm to his music.

So, gang, what’s the verdict? 

Contemporary Classical

Sir Mad Max

Peter Maxwell Davies let loose some fightin’ words a few months ago at the annual meeting of Britain’s Incorporated Society of Musicians. Music education has been unavailable in schools for two generations; the hegemony of commercial music is unchecked; and students now graduate high school with vocabularies insufficient to express the complexity of experience. Surprised? It’s all the same trend. Let’s start teaching kids to notate music, sing Palestrina, and go to new music concerts. (So Max.)

A related personal anecdote: Around the same time Davies was giving this speech, I asked the faculty of the Harvard Music Department if the declining standards of musical literacy were affecting their tasks as music educators. They didn’t seem to think so.  

Click Picks, Composers, Contemporary Classical, San Francisco

Steve’s click picks #31

Our regular listen to and look at living, breathing composers and performers that you may not know yet, but I know you should… And can, right here and now, since they’re nice enough to offer so much good listening online:

Beth Custer (b. 1958 — US)

Beth Custer EnsembleExtra, extra!… Fearless woman seizes her day!…

Beth was born in South Bend, Indiana, raised in western New York, but has lived in San Francisco for for the last twenty-five-and-some years.

As if she wasn’t busy enough being a composer, performer, bandleader, clarinet teacher, and running a record label, she’s also a founding member of the notorious silent film soundtrack purveyors the Club Foot Orchestra, 4th-world ambient ensemble Trance Mission, the quintet of esteemed clarinetists Clarinet Thing, the trip-hop duo Eighty Mile Beach, and the Latin-jazz-rock influenced Doña Luz 30 Besos. She now leads The Beth Custer Ensemble (including long time collaborator Jan Jackson on drums, guitarist David James, iconic pianist Graham Connah, and New Yorker transplant bassist Mark Calderon).

Beth composes for film, television, installations and the concert stage (hall or club are both fair game). Recent commissions include A Trip Down Market Street 1905/2005, a live outdoor cinema event by Melinda Stone produced by the Exploratorium; The Ballad of Pancho & Lucy musical for Campo Santo Theatre; and Bernal Heights Suite for the Left Coast Chamber Ensemble.

As the above might indicate, Beth’s music and monster clarinet chops are put in service of everything from the primal to the rarest air. Though seekers of the plain-and-pretty might have a hard time, the rest of us can enjoy a bit of all this at her extremely spiffy website, chockablock-full of MP3s, video, interviews and other info.

Classical Music, Contemporary Classical, S21 Concert

How Do You Solve a Problem Like Maria?

Judd Greenstein and Kimball Gallagher are looking for a few good proposals for the 2007-2008 season of VIM: TRIBECA.  Proposals may be submitted by performers (instrumental and vocal), composers, ensembles, or mixed-art groups that include music. VIM: TRIBECA is centered around music in the Western classical tradition, Greenstein says, but proposals may be made by any musicians whose work pushes the boundaries of genre, or whose work is affiliated with other traditions.  Download a pdf file with details here.

And get out there and push a genre today.  Just don’t be too noisy.

Our buddy Marvin Rosen will be joined by American composer Eric Ewazen this Wednesday morning, June 20 from 8:30 until 11:00 (eastern time) on the program Classical Discoveries which is celebrating 10 years on the air this summer.  The show can be heard every Wednesday morning from 6:00 until 11:00 on WPRB from Princeton, NJ.  The program is broadcast on line and can be listened  at WPRB.  

Classical Discoveries now has a brand new web address but Marvin hasn’t quite gotten all the furniture and lamps moved so older stuff is still at the old address.  

So, the S21 brain trust (yuk, yuk) has been kicking around some thoughts about doing another live concert this year and one of the ideas we had was maybe striking an alliance with a good new music ensemble.  Simple deal.  You play our concert–your schedule or as a one-off–and we put the considerable promotional and publicity resources of S21 behind your group year-round.  Kind of a play nice with us kids and we’ll make you the Emersons.  Any thoughts?