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CDs, Classical Music, Composers, Uncategorized

New Music Is A Global Language

Kalevi Aho, Lowell Liebermann, Áskell Másson, Þorsteinn Hauksson, Haraldur Sveinbjörnsson, Eiríkur Árni Sigtryggsson, Þorkell Sigurbjörnsson, Atli Heimir Sveinsson, Atli Heimir Sveinsson, Björk, the Sugarcubes, Quarashi, Sigur Rós, Minus, Olga Bochihina, Caspar Johannes Walter, Nicolaus Richter de Vroe, Michael Hirsch, Juliane Klein, Vladimir Nikolaev, Moritz Eggert (photo above), and Iraida Yusupova are just some of the contemporary composers from around the globe who have featured On An Overgrown Path during the last week.

New music comes in out of the cold in Iceland highlighted the flourishing new music scene in that remarkable country while A Who’s Who of contemporary composers featured a recently released CD of eight new compositions by German and Russian composers for that most bizarre of instruments, the theremin, and that article prompted a response from Germany from one of the featured composers who explained why Contemporary composers must never be bored. There was even a cautionary tale featuring a well known English composer about how not to compose new music, and, if you can handle it, an insight into the musical tastes of Bill Gates.

Click Picks, Contemporary Classical, Uncategorized

Steve’s click picks #3

Our 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 of the faculty (Claude Baker, David Dzubay, Don Freund, Eugene O’Brien, Frederick Fox, Jeffery Hass, P.Q. Phan, Sven David Sandstrom), with some student pieces right alongside them. You’ll also find a really large offering of IU-focused CDs for purchase.

SONUS.CA

SONUS is the online archive of electronic and electroacoustic music, hosted at the Canadian Electroacoustic Community’s website. The focus of course is on Canadian creators, but the archive is open to submissions from any country. It’s truly vast, with more than 1800 complete works freely available as MP3s, including such Canadian greats as Francis Dhomont (who celebrates his 80th birthday with a concert in Montréal on Nov. 2nd), Monique Jean, Robert Normandeau, Stéphan Roy, and Katharine B. Norman. But there’s plenty of quality hiding in the cracks, too; I like to just click “search” and browse alphabetically. If it all seems a bit intimidating, there’s a link to curated playlists that will take you on differently-themed audio “tours” of the EA (electroacoustic) landscape.

Lloyd Rodgers and the Cartesian Reunion Memorial Orchestra

Lloyd Rodgers is currently teaching at Cal State Fullerton, making a charmingly sly and subversive music. But 20-25 years ago he was one of the “kids” in a brash West Coast / L.A. brand of classi-pop-minimalism, little known outside California. Lloyd’s site documents some of the rare recordings of this place and time. Besides his self-claimed work, what’s truly fascinating here are the recordings of the Cartesian Reunion Memorial Orchestra. Originally formed by eight young composers in 1979, and continuing in one form or another through all of the 1980’s, it was a laboratory for a new kind of classical… or a new kind of pop… I’m not really sure, all I can say is that it’s still fresh and buzzing with young energy and transgression, and I like it!

Classical Music, Composers, Contemporary Classical, Uncategorized

4 sentences about classical music that I don’t mind reading

There 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 hard?

“Mozart and Beethoven were the popular music of their time.”
There is no 200-year-old equivalent of Justin Timberlake. The pop star is a 20th century creation of a nascent mass media. These composers were, by any measure, more important to their contemporary cultural life than anything that exists today in the classical community. The estimates are that somewhere between 20 and 30,000 people flocked to Beethoven’s funeral. Franz Stober even painted the thing:
 

Lady Di, sure. But can you imagine people turning out like this when Philip Glass checks out?

“Orchestras need to do away with tuxedos because they’re stuffy and outdated.”
Not to mention that they’re utterly absurd. Orchestras started wearing this crap because that’s what the audience wore (There’s a lovely scene in the old movie ‘Tales of Manhattan’ that perfectly illustrates the sartorial peer pressure which gave rise to this tradition). But when do you ever see an audience in white tie these days? In what universe does it make sense for an orchestra to continue to dress this way?

“Composers today only write music for other composers.”
An absurd generalization, of course, but it does put its thumb on the fundamental issue that arises out of classical music being so cloistered: there is no general audience for new classical music in America.

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Concert Fund-raising Update

Hey Folks,

Just wanted to offer an early thanks to those who recently helped us reach our fund-raising goal of $2000.

We’re going to keep the PayPal link open just in case any of you out there still feel generous. The money may not go to this concert, but (believe it or not) there’s already been a little whispering about the next Sequenza21 concert, and it would be nice to have a little piggy bank to draw from. And who knows? Maybe some unbelievably horrible disaster might occur between now and concert time that would require us to hunker down and cough up a little cash.  Of course we hope not:  but, as today certainly proved, rainy days do happen!   (Just referring to the weather now, don’t worry.)

So thanks once again, and we’ll see you at the concert! 

Click Picks, Contemporary Classical, Uncategorized

Steve’s click picks #1

Jerry was nice enough to ask if I’d maybe post here once a week, each time sharing a few links to sites where I’ve encountered composers and performers offering excellent work to listen to online. Forgive the length, but once the pleasantries are out of the way in this post, the rest will be to-the-point.

Why me? Besides being a composer lo these past 30-something years, and having a life-long receptivity to music from across the temporal and cultural spectrum, since I first got online in the mid-90s I’ve actively pursued new work that composers and performers have been kind (and forward-thinking) enough to put up on the web for all to hear. Some will be “names” most people know from their CD store or radio, but many aren’t. Here I am out in the wilds of Seattle, but the beauty of the web is that we don’t have to let geography, your CD store and the gods of the mysterious Land of Marketing boss us around so much anymore.

Waiting for the “imprint” of some label or publisher before you deign to listen, especially dealing with the living, is such a waste of your own all-too-precious initiative. A multitude of excellent musicians are hard at work around the world, right now; tricks of place, time or circumstance keep many of them off your radar, but I can help rectify that a little if you give these links a chance. You only have to bring open ears attached to an open mind.

One request: don’t ask me to mention or “review” your music, site or link. By the time I give a recommendation here, my reviewing is done; if I’m telling you about it, that means I’ve listened to what’s there and truly enjoyed what I heard. Not that you have to agree with my opinion, by any means! But if you never take the time to listen, you’ve passed up the chance to decide anyway.

Rozalie Hirs (Netherlands)

(From the main page, choose “New Composition” and then “MP3” and “Multimusic”.) Though Rozalie has cracked her 40s (b.1965) and seems busy enough on her side of the Atlantic, she doesn’t get much exposure on our side. It’s a shame; pick any of these to hear and you’ll find beautifully poised work, full of play and color.

Erel Paz (Israel)

(The main page has a direct link to MP3s and scores.) Erel’s a little younger (b. 1974) than Rozalie, but keeps up a bit more dialog with the Romantic and Classic. But not strictly “formula”; there’s an idiosyncrasy that I find pretty appealing.

Matt Ingalls (US, CA)

Follow the “sound” link on the main page, and you’ll find a veritable cornucopia of listening! Matt (b.1970) is one of those Bay-Area powerhouses that seems to pop up all over the new-music scene. A phenomenal clarinetist as well as composer and improvisor, you’ll find plenty to hear from him in all of these roles.

OK, that oughtta hold ya for a week or so… Enjoy.

Uncategorized

Sequenza21 – Shining Outwardly Now!

Six weeks to the concert and I’m told we now have $850 towards our goal of $1000. Amazing! (And of course if we go over, our musician friends will get a little extra than the pittance we’re planning on giving them).

I was going to try and say something funny and encourage you guys to send us a few bucks, but instead, I’ll be reflective. Mainly because I’m a little hung over. And my ears hurt from working on an organ piece. And what with the rehearsals, the people I hear are coming and the success so far with the fund-raising I can get away with it. So, please excuse me while I shine something philosophical…

One of the things about online communities is that we’re all creating something new together. We’re creating a vibe, a place, a way of communicating and also we’re making friends. Fine, we all know that. And the strangest thing about online communities has always been that until very recently – they all were basically a dream. They didn’t resonate into the real. One glitch and whoops, the community would vaporize. Lose that email address and it was almost like Joe from Kalamazoo didn’t even exist anymore. But something has changed recently. Call it critical mass, or just the mirror breaking from the sheer scale.

In David Gerlertner’s book, Mirror Worlds, he talked about how the next step for the computer revolution was the mirroring of the world into the network. Think Google Maps. The real world transformed into a virtual place that would let us reflect on its characteristics from afar. Sequenza21 was that, until very recently, a set of virtual characters, symbolizing people, that simulated conversations with posted texts. Frankly, I’d rather sit in a Paris cafe with another composer or two and do that with a glass of absinthe, but those days are sadly gone.

It was then further hypothesized that this network would eventually reflect outward causing a new world to be created. A world which combined the benefits and wonders and freedoms of this real->virtual mapping with the real. The way we share our thoughts here, away from the physical, the freedom which let us say things we might not say to a colleague, all of these possibilities and transformations we’d created here in the virtual, would somehow establish itself non-virtually as something new.

Sequenza21 is now attempting to do just this. Create a brief real musical world, a new music reality derived from a virtual community. We are now reflecting outward and creating projects. People are rehearsing, making travel arrangements; the virtual community of Sequenza21 is going to shine back out into the real. And with your support we’ll be able to do this in a professional and thankful way to our performer friends who we all depend on to realize our crazy musical visions.

Click on the PayPal button below the picture of our own Ian Moss to add your $.02. Any amount is appreciated and frankly, we’d just as soon get 20 gifts of $10 as a $200 gift from one person. And since we’re all so nice here, and this thing is absolutely rocking, we’ve decided that instead of a $100 donation for an incentive, if you give over $50, we’ll throw something cool in. Help make this community something not just cool and virtual and liberating but something really really real.

CDs, Uncategorized

Free CDs

In my continuing efforts to find volunteer reviewers who will actually write reviews, this is my latest tack.  All of the wonderful CDs you see below are currently in my possession and available to be shipped to your mailbox.  The rules are this:  You can request up to 3; first e-mail request wins (list a couple of alternatives in case somebody else has beaten you to your first choice).  You have one week per CD to write and post a review on the CD page and you must agree to accept one CD of my choice for every one of your choice.  You pick three then I pick three, not necessarily from the batch pictured here which means you might get some dogs.  You have two weeks for each of my choices.  Failure to meet the rules simply means you don’t get to play next time.  Meeting the rules means you’ll never have to buy a CD again. Send your reservations to me here.

Henry Brant
Music for Massed Flutes                              New World

 
Earle Brown Selected Works 1952–1965
Composer(s): Earle Brown                              New World

 

Works for Violin
Composer(s): Henry Cowell, Charles Dodge, David Mahler, Larry Polansky, Ruth Crawford, Stefan Wolpe, George Antheil, Johanna Beyer
Miwako Abe, violin                                      
Michael Kieran Harvey, piano                       New World

George Antheil
Composer(s): George Antheil
Piano Concerto No. 2, Serenade No. 2, and Dreams
Philadelphia Virtuosi Chamber Orchestra
Daniel Spalding, conductor
Guy Livingston, piano                                                     New World

David Tudor & Gordon Mumma
Composer(s): David Tudor, Gordon Mumma New World

 
Christian Wolff
10 Exercises                                                   New World
 

 

Ontophony                                                                  Composer: Michael O’Neill
New Music for Highland Pipes and Percussion
Songlines

 

Serenada Schizophrana
Composer:  Danny Elfman
Sony

 

Artist in Residence
Jason Moran
Blue Note 

 

Eötvös conducts Stockhausen
Gruppen, Punkte
Composer: Karlheinz Stockhausen
WDR Sinfonie Orchester Köln
Budapest Music

Uncategorized

Please Feed Ian Moss!!!!

Ian Moss is hungry.

(Scroll down the page and look to the right. You’ll see.)

Ian Moss is hungry . . . for a Sequenza21 concert!!!!

This is good news for you. You know why?

A Sequenza21 concert needn’t cost that much money. In fact, as little as $25 would be very much appreciated.

But, hey: you pay more, you get more.

By the end of this week, the concert committee will have decided on an incentives package for those of you who find it in your heart to donate $100 or more. Whichever shape the package takes, one thing is for sure: it’s going to be one sexy animal. Trust me.

You can find out more about the concert by clicking Ian’s picture.

You can donate to the concert via the PayPal link right below Ian’s picture. Donating to the Sequenza21 concert is much simpler, I can assure you, than dealing with the guilt you’ll feel for not donating.

Now go please feed Ian Moss.

 

He’s hungry.

(Growl!)

And thanks.

Uncategorized

On the Transmigration of Souls

22.jpgWhat we know to be not possible,
  Though time after time foretold
By wild hermits, by shaman and sybil
  Gibbering in their trances,
Or revealed to a child in some chance rhyme
  Like will and kill, comes to pass
Before we realize it:  we are surprised
  At the ease and speed of our deed
And uneasy:  It is barely three,
  Mid-afternoon, yet the blood
Of our sacrifice is already
  Dry on the grass; we are not prepared
For silence so sudden and so soon;
The day is too hot, too bright, too still,
Too ever, the dead remains too nothing.
  What shall we do till nightfall? 

From Nones by W.H. Auden