Louis Andriessen Theatre of the World Leigh Melrose, Lindsey Kesselman, Marcel Beekman, Steven van Watermeulen, Mattijs van de Woerd, Cristina Zavalloni, vocal soloists Los Angeles Philharmonic, Reinbert de Leeuw, conductor Nonesuch 2xCD Dutch composer Louis Andriessen’s 2016 opera, Theatre of the World, subtitled “A Grotesque in Nine Scenes,” is a fantastical portrait of Seventeenth century polymath Athanasius Kircher. Commissioned and premiered by the Los Angeles Philharmonic, a recording of the live performance of this production was released in 2017 on Nonesuch. In a nonlinear narrative propelled by effusively polystylistic music, played with assuredness and flexibility by LA
Read moreOn Saturday, November 18, 2017, the Walt Disney Concert Hall in downtown Los Angeles was given over to Noon to Midnight, an entire day of performances by local new music groups. A line of taco trucks extended along Grand Avenue and a pleasantly festive atmosphere prevailed as large crowds surged in and around the facility. The centerpiece event was War of the Worlds, a new experimental opera by Annie Gosfield, conducted by Christopher Rountree and directed by Yuval Sharon. In addition, some 20 different pop-up concerts were scheduled, regrettably timed so that it was impossible to hear everything. Here are
Read moreSearching for Serotonin, the west coast tour by cellist David Mason and sound projectionist Daniel McNamara, landed at the Ventura College Performing Arts Center on Wednesday, November 15, 2017. Four works of experimental new music were presented including pieces by Kaija Saariaho and György Ligeti. A midweek crowd of the knowledgeable and the curious gathered to hear a combination of acoustic cello and electronics as presented by Mason and McNamara. The concert began with Sonata for Solo Cello, by György Ligeti. This was written between 1948 and 1953 at the height of Stalin’s power in Soviet Russia, and consists of
Read moreTo open with a broad stroke, opera is generally seen as a medium that embraces tradition. For example, while the repertoire certainly has a myriad more terrifying works to offer, the Royal Opera House offers Don Giovanni and Macbeth as selections from their Top 5 Scariest Operas article. Bearing this in mind, I couldn’t help but appreciate the particularly rich novelty of fitting my smartphone into a specialized cardboard case to watch the first ten-minute episode of The Parkside Murders, the virtual reality horror opera. The first episode of The Parkside Murders fully embraces its medium as a VR experience,
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Composers, Concert review, Contemporary Classical, Experimental Music, Just Intonation, Los Angeles, Premieres
On November 11, 2017, the Society for the Activation of Social Space Through Art and Sound (SASSAS) formally presented the world premiere of Changes: Sixty-Four Studies for Six Harps, by James Tenney. Over 150 people filled every available chair in The Box art gallery and demand for tickets was so great that a second, preview performance had to be added. Anticipation ran high in the downtown arts district as the crowd waited to hear this extraordinary work, composed in 1985 but only fully realized this year from materials in the late James Tenney’s archives. Michael Winter, composer and one of
Read moreNow, and Then Orchestra Della Svizzera Italiana; Dennis Russell Davies, conductor Pablo Márquez, guitar ECM 2485 November 17 sees the release of Now, and Then, an ECM recording of transcriptions by composers Bruno Maderna and Luciano Berio. In addition to his creative pursuits and new music advocacy, Maderna (1920-1973) was in demand as a conductor of classical repertoire. Rather than performing the instrumental music of the Italian Renaissance and Baroque eras with its original, reduced, forces, he made transcriptions of figures such as Frescobaldi, Legrenzi, Gabrieli, Viadana, and Wassenaer (all included on this CD) for the modern orchestra. They are
Read moreOn Monday, November 20 in New York, Metropolis Ensemble percussionist Ian Rosenbaum will present an hour-long, seamless musical narrative culminating in Christopher Cerrone’s evocative work Memory Palace. Through electro-acoustic soundscapes, visual projections, and a fluid juxtaposing of unexpected techniques and instruments, works by Mark Applebaum, David Crowell, Tom Johnson, Scott Wollschleger, and Cerrone are interwoven to explore new, expressive possibilities for solo percussion. Earlier this year, Rosenbaum released a recording of Cerrone’s Memory Palace, a work Rosenbaum has performed over 40 times since its premiere by Owen Weaver in 2012. An autobiographical work, the title refers to a memorization technique
Read moreA rare Southern California appearance by Philip Glass, one of the founding fathers of minimalism, took place on October 26, 2017 at the Ruth B. Shannon Center for the Performing Arts in Whittier. A sell-out crowd filled the theater for this long-anticipated event. The program opened with a solo piano performance of Mad Rush, an early piece that was originally written for pipe organ. Something of a Glass standard, Mad Rush began with a moderate but even tempo, good phrasing and was played entirely from memory. In the middle of a West Coast tour with the Kronos Quartet – and
Read moreNEW YORK – On October 6 & 7, 2017, Park Avenue Armory presented Ensemble Intercontemporain, conducted by Matthias Pintscher, in Répons, a major work by the recently deceased French composer Pierre Boulez. It was the first time that the composition has been heard in New York since one of its early incarnations in the 1980s (the Times was hard on him then). Boulez was an inveterate reviser, and the electroacoustic component of this piece continued to evolve with successive technological innovations. It is also the first large-scale work to be mounted
Read moreOn October 11, 2017 downtown Los Angeles was the venue for a new collaborative performance by Rachel Yezbick, Carole Kim and Eric Heep. Coaxial Arts, the new home of the wulf experimental music concert series, welcomed in a mid-week audience that arranged itself on the floor and along the brick walls in quiet expectation of an unconventional program. The performance space was darkened as the program opened with Eric Heep’s Bubble playing through the speakers. The sounds were realized from digitally generated oscillations that were processed by computer using a bubble sort algorithm. The result was a series low buzzing sounds
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