In a remarkable article in today’s Washington Post, Pearls Before Breakfast, Gene Weingarten examines what happened last Friday when, as an experiment, Joshua Bell busked in a Washington DC subway. What happens, why it happens, and the role that beauty plays in our lives are explored. I’ll let it slip that only 3 people spent any time listening and only one recognized him. A provocative and chilling experiment which explores the spiritual malaise of America more than it touches upon obvious classical/thanatological, arts education, etc. issues.
The big news out of Los Angeles this morning is that Gustavo Dudamel, the 26-year-old Venezuelan wunderkind, will replace Esa-Pekka Salonen when he leaves the LA Phil at the end of his term in 2009. Salonen plans to spend more of his time composing.
Happy Easter or Passover or whatever mystery cult holiday your side of Abraham’s futon celebrates this time of year. It’s a chilly one here in the Center of the Universe; about 30 degrees (-1) but I’m snug inside and listening to Frank Martin’s in terra pax (Chandos 9464, with Matthias Bamert and the London Philharmonic). On deck is Stravinsky’s Symphony of Psalms (Naxos 8.557504, Robert Craft with assorted forces) and George Crumb’s The River of Life and Unto the Hills, with Ann Crumb and Orchestra 2001 (Bridge 9218 A/B).
What’s on your best-for-Easter playlist?
“But I do believe the people who are the most immortal are the composers. The man on the street, he knows who Beethoven is, he knows who Mozart is. And I’d like to compose.”– Joshua Bell, from a CNN story on his win of the Avery Fisher Prize
April 7th, 2011: Gerald called. Says if I don’t do Tchaik in Berlin this November I can kiss my contract goodbye. Sigh. My cello sonata needs the time. I just got the draft back from Yo-Yo who has reservations about the dead butterflies. But that’s the sound I want!! He’d do it, but I can tell he’d rather not . . . And Manny still can’t get the hang of bowing piano strings. I’ve showed him ten million times, but . . . Anyway so I have to put the entire thing back under the knife. Also heard from Sony. They want to hear “exosphere” before agreeing to record. Fair enough, but you try to find twelve accordion players who are available the same afternoon for a session! Ugh. And Edgar’s in town next week and wants to have dinner at Saint Georges. I guess I can spare the money. He’s a pal, and, who knows? Maybe I can get him to commission that bass and percussion piece I’ve been thinking about . . . Oh and the rehearsal with Hillary? Disaster. Ask her to play double-stop trills, no problem. But write one measly microtone, and forget it: we spent twenty minutes on one single note, and I’m still not sure she has it. At least the fifth annual S21 concert at Carnegie was awesome. Wish those guys would show me some love . . .
For those of you who may not be familiar with it, there is a seminal document called The Cluetrain Manifesto that defines a new style of communication in an age in which everyone and everything is electronically connected. Its premise, to which I subscribe, is that the internet is fundamentally different from mass media like television because it allows lots of people to have “human to human” conversations (with all the complexity and difficulty that implies) rather than being force fed a one-sided party line or mass marketing message.
There can be negative aspects to this ubiquetous connectedness. Some people hide behind the mask of anonymity on the internet to say and do cruel and destructive things. But, in the best case scenario, the web allows us to talk to each other and–under the right conditions of respect, transparency, and honesty–to learn and even grow into a community where people can disagree without being disagreeable. I believe Sequenza21 is one of those rare communities and that makes me proud.
The first of the Manifesto’s 95 theses is this: “Markets are conversations.” In other words, if people are talking seriously about your product, or your Whitney concert, that is a positive thing from both a human and commercial point of view.
Just an old hippie (and professional marketer’s) point of view.
p.s. We need a new conversation started over on the Composer Forum page. If you don’t have a user name or password to post something let me know and I’ll fix you up.
Lots of terrific new reviews over on the CD Review page.
I listen to the fantastic Counterstream radio (see toilet seat icon) while I work and yesterday heard a terrific piece by Ezra Sims and it occurred to me that somebody ought to voluteer to write a regular column here every week or every other week called something like “Underrated,” which would focus on composers we don’t hear much about.
Kevin Gallagher, guitarist and founder of Electric Kompany, writes:
I noticed in your Jacob TV piece that there was hardly any mention of the fact that Electric Kompany is doing a world premiere of White Flag (for rock quartet and tape) based on sounds from the Iraq war starring the voices of Bill O’Reilly and George W Bush at the Whitney Museum at Altria on Friday, May 4 at 8pm.
Needless to say, I was pretty upset that they aren’t stressing this piece to the press. It’s rare enough to have a world premiere for rock quartet at the Whitney, never mind to have it tied to the biggest news story for the past 5 years.
I don’t know if the Whitney is scared of it (possible), but I want people to know what we’re about to do. It’s a good piece and we’re going to play the hell out of it. If you could please make sure people know about the premier, I would be very appreciative. Thank you for your help.
(I think I’m going to switch to mid-week from here on; people seem to like it.) 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:
Tom Rojo Poller (b. 1978 — Germany)
Born in Osnabrück, Poller began his composition studies in 1996 at the Hochschule für Musik Detmold, continuing with Prof. Walter Zimmermann at the Universität der Künste Berlin (UdK). After an exchange year at the Royal College of Music London in 2003, he received his diploma and returned to Berlin where he’s just finished his postgraduate work. Since 1999 he’s also been studying German Literature, Philosophy and Musicology at the Humboldt-University in Berlin. Last year, as participant of the Global-Interplay-project, he attended conferences in Accra, Ghana.
Tom is especially interested in the temporal aspect of music (including polyrhythmical/polymetrical music); music theater — or more generally, various forms of musical representation; the relation between music and language; the philosophy of music (especially music and the emotions, music and understanding). His music is deeply rooted in the western European musical tradition, but is greatly influenced by its lesser known aspects (e.g. medieval and renaissance music, rhetorical aspects of baroque music).
His website shows off all of these interests; his music page there is especially generous about providing quality listening to his already-amazing pieces (the recordings and performances are generally top-notch). This is someone to keep an eye on in the coming years.
………………….
Tristan Fuentes (b. 1951 — Mexico), Joe Holmquist (b. 1951 — US)
The official word is:
Tristan Fuentes, born 1951 in Mexico City, is the son of a school teacher and barrister. His first ensemble experience was “Cherub Choir” as a five-year-old, and piano studies followed at age six. In the fifth grade he had the opportunity to join the class band. It was denied that he play trumpet but firmly suggested that he play drums. At age fifteen he organized his first combo and started playing professionally.
As a university student he pursued a dual track of classical music and rock & roll. In his mid-twenties he studied percussion, music theory, and composition at the New England Conservatory and suffered under the tutelage of Gunther Schuller. Upon his liberation with a Master of Music degree, he set upon a diverse life of people, places, languages, and art objects. His main compositional influences have been Terry Riley, John Cage, and Frederic Rzewski. His works are primarily for small instrumental ensembles, often including exotic percussion.
Fuentes describes his music as “liberated minimalism”. As a theory and composition student he was trained in the tradition of Paul Hindemith and the later serialists, while outside of class he was listening to and playing rock, jazz, and minimalist music. His works are characterized by catchy melodies and strong rhythms. Harmonically the music is tonal, with dissonance as the main device for creating tension between compositional elements.
Or…
Joe Holmquist was born in 1951 in Benson, Minnesota, a medium-sized community out in the west-central part of the state (in this case, medium-sized means 3,000 souls). There wasn’t much along the line of organized activities for kids, so it was common to participate in music organizations both at school and at church. “…At the time, I didn’t think I was learning anything in particular from those music activities, but I was!…”
His first ensemble experience was “Cherub Choir” as a five-year-old, and piano studies followed at age six. In the fifth grade he had the opportunity to join the class band. It was denied that he play trumpet but firmly suggested that he play drums. At age fifteen he organized his first combo and started playing professionally.
As a university student he pursued a dual track of classical music and rock & roll. In his mid-twenties he studied percussion, music theory, and composition at the New England Conservatory and suffered under the tutelage of Gunther Schuller. Upon his liberation with a Master of Music degree, he set upon a diverse life of people, places, languages, and art objects. His main compositional influences have been Terry Riley, John Cage, and Frederic Rzewski. His works are primarily for small instrumental ensembles, often including exotic percussion.
Holmquist describes his music as “liberated minimalism”. As a theory and composition student he was trained in the tradition of Paul Hindemith and the later serialists, while outside of class he was listening to and playing rock, jazz, and minimalist music. His works are characterized by catchy melodies and strong rhythms. Harmonically the music is tonal, with dissonance as the main device for creating tension between compositional elements.
Hmmm… The truth is what we will, right? And the truth is that Joe’s site, besides highlighting his excellence as a percussionist, kindly hosts a wealth of Tristan Fuentes pieces in MP3. Bright, propulsive and non-cheesily tuneful, They’re well worth getting to know.
Vienna born conductor and composer Peter Paul Fuchs died in Greensboro, North Carolina on March 28 aged 90. For an appreciation of his music by John McLaughlin Williams follow An Overgrown Path.
I’m so glad you asked! TAFTO is Drew McManus’s “Take a Friend to the Orchestra” month–a month dedicated to bringing new fans into the fold. As always, Drew is marking TAFTO with a series of essays by hot, industry-savvy writers — how-to guides, analysis of the contemporary situation, and so on. The first two essays went up yesterday and today, and you should check them out.
Both of my fans (hi mom!) will want to know that my own contribution will be going up on April 12th, and the rest of you will want to know that you can see a list of the other contributors (including the likes of Frank Oteri and Leonard Slatkin) and other timely TAFTO information right here. Why, I’m reading it right now!
Seriously, this is good stuff and if you’re interested in discussions about the future of the classical music industry these essays will be worth reading.
Contrary to speculation that the mystery man in Friday’s photo is a Guantanamo detainee or a middle school crossing guard, the fashion-forward gentleman in question is, in fact, the Dutch composer Jacob ter Veldhuis, aka JacobTV, whose work (it says here in the press release) “…has had a huge impact on the European music scene in the past decade, but he is far less known in the U.S.” It could happen.
The Whitney Museum of American Art, that well-known new music venue, is concluding its Spring 2007 Whitney Live series with Grab It!, a three-day festival dedicated to JacobTV, Wednesday to Friday, May 2-4, 2007 at the Whitney at Altria in mid-town Manhattan. The festival is the first large-scale examination of his work on this side of the pond, featuring some of his signature pieces as well as recent compositions and premieres, video, instrumental work, and a new evening-length dance piece set to his boombox music. He will also unveil a major CD/DVD anthology of his work on the Dutch label Basta, which includes orchestral music, boombox works, chamber music and video.
That would explain the “three pounds” of CDs I got from the Whitney which, by the way, are still up for grabs although, frankly, judging from the catty comments, you folks are not taking this opportunity nearly seriously enough.
Among the participants and performers in the festival are PRISM Quartet, Miro Dance Theatre, New Century Quartet, Frank J. Oteri, Kevin Gallagher, Electric Kompany, Margaret Lancaster, Dorothy Lawson, Meehan/Perkins Duo, and Kathleen Supové
The back story is that Limor Tomer, who curates the “Whitney Live” events, heard JacobTV’s music when the Prism sax quartet did a whole evening of his work at Symphony Space last year (Prism performs on the May 2 concert, then again twice in Philadelphia a few days later). She went wild over the music and decided to take the risk of programming three nights of his work, although no one here is really familiar with it. She hired the terrific new music publicist and all-round hottie Aleba Gartner to promote the show and, of course, we all know about my character flaws in the area of pretty gals.
Speaking of which, Aleba is also promoting the June in Buffalo Festival June 4-10 this year. This is one of the top festivals in America and it gets surprisingly little coverage although we always try to do our part. Anybody live in the Buffalo area who would like to “audit” the festival, do a little deep immersion, and keep a daily Sequenza 21 diary of the event? Something can be arranged.
Other stuff: I was having a Rome withdrawal attack last night and tuned into Showtime’s new Tudors mini-series. Pretty good, actually, but my favorite part is when a scruffy young man turns up at the cathedral with a letter from the Bishop of Canterbury introducing him as Thomas Tallis, a bright prospect who plays the organ, flute, sings and “composes a bit.”
And, finally, if I haven’t said so already, I think Steve Layton does a fantastic job week after week with his Click Picks. Thanks much, Steve. You’re a big part of our little success.