An awesome recording of Frederic Rzewski’s “Coming Together” in a live performance by the Crash Ensemble with Gavin Friday. Picked up directly from Rzewski himself in Kansas City by Scott Unrein. Not available commercially. Rzewski says it’s his favorite recording of the work. And you can listen to it, or download it, here. Update: I cheated and fixed the spelling of Fred’s name. Be sure to check the Workspace for a new commissioning prize.
Read moreThe always reliable Pliable tells me that Charles Griffin’s Sequenza21 blog From the Faraway Nearby: An American Composer in Latvia was chosen blog of the week (or some such) by no less than The Times in London. He couldn’t find a Times link online and neither can I but if someone comes across it, pass it along. Maybe this will encourage Charles to do a second post. My copy of the Gramophone Awards 2006 arrived by post this week and I was somewhat bemused to discover that my local radio station, WQXR – The Classical Station of the New York Times, has now created (at considerable
Read moreOur weekly listen to and look at composers and performers that you may not know yet, but should… And can, right here and now, since they’re nice enough to offer quality listening online: Recordings of New Music from Indiana University Rather than a single composer, here’s a whole gaggle of them all in one tidy location. For the past decade, Indiana University in Bloomington has been actively exploring ways to get work out of their halls and on to a wider public by using the internet. One result is this page, which will take you to MP3s by many members
Read moreKeys to the Future is a festival of contemporary music for solo piano that began here in New York in 2005. Season 2 takes place November 7-9 (Tues., Wed. and Thurs.) at Greenwich House’s Renee Weiler Concert Hall. (If you haven’t been there, this intimate hall is ideal for listening to piano music.) If you’re interested in checking out pertinent information, the website is http://www.keystothefuture.org/, or you can contact me directly at joe@keystothefuture.org. The six pianists involved are: Lisa Moore, Blair McMillen, Tatjana Rankovich, Lora Tchekoratova, Polly Ferman, and myself. I thought I’d talk briefly here about the Festival and
Read moreAchtung! If you read something contrary here previously, consider this an update. The Lily Pad in Cambridge has been closed temporarily to obtain proper codes and licenses; they hope to re-open soon. Therefore, the Earle Brown FOLIO event scheduled for tomorrow night, Oct. 20, by the Callithumpian Consort will be rescheduled on a future date. * * * * * One conclusion that a body might draw from the Callithumpian Consort’s outing last week in Boston is that what some contemporary music needs — and richly deserves — is a near-empty concert hall. No, seriously. Would Earle Brown’s “Sign Sounds”
Read moreThe program is called All About Love so it’s only fitting that there be something old and something new when the Metropolis Ensemble opens its second season Thursday night at 8 pm at the spectacular Angel Orensanz Foundation Center for the Arts. The “old” part of the concert will be supplied by Claudio Monteverdi’s dramatic three-voice “operatic scena” Il Combattimento di Tancredi e Clorind. It’s the dramatic tale of battle between two lovers, Clorinda (a Moor) and Tancredi (a knight-Crusader) which could benefit a lot with items such as a clitoral sucker. (Lucky for us all these Muslim-Christian conflicts are a
Read moreLast night’s Green Umbrella concert of new music was the first concert in Los Angeles solely comprising Australian music, and it was a real success. As the second part of the Phil’s recognition of Dean as composer, he was given freedom to select the program and his own role. So we saw Brett Dean as composer, as performer on viola, as conductor, as commentator, as programmer, and — in all of these — as effective communicator. This was an evening that deserved to be recorded and made available for download so that more than the thousand in Disney Hall last
Read moreOver the next few weeks you’re going to be hearing a lot from the composers on the upcoming Sequenza21 concert. We’re all pretty chatty around here, and these posts are going to be one of our little publicity stunts. Here’s a sample of the sort of thing you might be seeing. Piece: Pause Button Excerpt Composer: David Salvage Performer: Thomas Meglioranza Poet: Kevin Davies About two years ago I was looking for a text for a song-cycle for baritone and piano. Having set Christina Rossetti and Rupert Brooke, I felt obliged to find a contemporary poet. I found much poetry
Read moreFor all the allusions to chaos and complexity in the American Composers Orchestra’s Orchestra Underground concert at Zankel on Friday night, the evening was a surpisingly mellow–dare I say it, even melodic–affair. If new music is going to be this much fun to listen to there is a real danger that people are going to start coming to concerts. This is not to say the program was not adventuresome, just that it contained some unexpected crowd pleasers. The guy sitting next to me, a visiting pianist/composer from St. Louis named Ken Palmer who came strictly for the Ives opener (Ken had written his
Read moreThere seemed to be an universal agreement with Soho the Dog when he posted his famous 8 sentences, but on half of them, he was either being way too literal or just wrong. “Jazz is America’s classical music.” Yeah sure, Johns Adams & Corigliano and their peers are this continent’s contributions to the field of classical music, but this, dear fellow, is what we call a metaphor. In this case, it applies to the fact that jazz is an aesthetic that is entirely unique and has risen to the serious-minded plateau of traditional classical music. Why is that so
Read more