Miller Theatre at Columbia University continues its Composer Portraits series with a 90th birthday celebration for composer Leon Kirchner. The concert will include performances of a recent piece for flutist Paula Robison, the Claremont Trio playing Kirchner’s Trio No. 1, and the 1960 Double Concerto for violin, cello, winds, and percussion. The show starts at 8; there’s a talk onstage with the composer; tickets range from $7-$25.
The new season of the Phil was announced Thursday afternoon, accompanied by a press conference (with internet simulcast) by Dudamel and Deborah Borda, president of the board. This announcement was earlier than usual in order to fit into Gustavo’s schedule. I’m sure it’s just a coincidence that the Phil is using this opportunity to encourage people to submit their re-subscriptions early. Here’s the the index to the set of press releases. The Phil is welcoming Dudamel with a Bienvenido Gustavo” celebration — free — at the Hollywood Bowl and a performance of the Beethoven Ninth by the orchestra with the Master Chorale. Yes, free. Every ticket.
I think there are three major messages from this set of schedules. First, the Phil is not weakening its focus on contemporary classical music. There are very few Phil programs with music without at least a significant work from the twentieth century if not a contemporary work. There will be two significant festivals: West Coast: Left Coast in November; and Americas and Americans in April. There will be nine Philharmonic commissions this season: two works by Adams (one for solo piano to be performed by Ax), Newman, Lieberson (a new work for cello and piano, performed by Ma and Ax), Chin, Golijov, Bermel, Benzecry, and Hartke (a symphony with organ). Terry Riley will return on the WDCH organ. Thomas Ades will return. We will hear the American premiere of Louis Andriessen’s La Commedia, conducted by de Leeuw in his return to Disney. We will have an evening of Eotvos. We will have Dawn Upshaw
Second, John Adams will be joining the Philharmonic in the new position of Creative Chair, as well as filling Philharmonic commissions for two new works. Adams was a key factor in making the Minimalist Jukebox so successful and so satisfying, and his contributions to the two new festivals will be welcome. I’ll get the full set of tickets, if at all possible. I wouldn’t even wait to see the program details.
Third, we may indeed be seeing the start of a Dudamel infusion of music from the Americas, both Anglophone America as well as Latin America. Hearing both the Golijov Mass and the Estevez Cantata, in the same season, is noteworthy.
Esa-Pekka Salonen will not conduct next season, on his own decision. He has been exemplary in providing a smooth transition to the new music director. In the 2010/2011 season he will begin a multi-year series of conducting assignments.
So Yo-Yo, Itzhak and gang were string synching and what we heard on TV was Memorex. Misleading? Unethical? Biggest scandal since we found out that those adorable little Chinese kids were lip synching the opening ceremony of the Olympics? Or, no biggie. Give the nice folks a break, nobody could actually play under those frigid conditions.
[youtube]http://www.youtube.com/watch?v=uDUTM3NViHc[/youtube]
I heard the world premiere of Absolute Ocean by Augusta Read Thomas in Houston Thursday night at Jones Hall.
1. Thomas spoke before the concert about her compositional process and specifically about Absolute Ocean. Her talk was engaging, direct and charming; Thomas included showing the audience some of the manuscript score, and explained how 15 seconds of music might take five hours to score by hand!
2. Absolute Ocean is a work for Soprano, Harp and Orchestra in three movements from poetry by ee cummings commissioned by the Houston Symphony. The soloists, soprano Twyla Robinson and harpist Paula Page, performed with conviction and panache – putting the music first without extraneous movement or distractions. The texts were projected (not always coordinated, but hey, they were there!) on each side of the stage and added to the performance.
3. The opening “Graceful” movement was pointilistic and bright. Robinson pulled pitches from nowhere and was matched beautifully by Thomas’ instrumental colors and combinations. Page was often backed by four percussionists and divisi solo strings.
4. Perhaps the most charming of all was the second movement, “Playful, spry and jazzy.” Hans Graf was direct and precise with the orchestra, making it easy for the musicians to move in and out of the lines deftly. Again Robinson caught the feeling perfectly of cummings text and Thomas’ frolicsome and vivacious score. Page was purely color for the most part, but had a chance to shine with a cadenza between this movement and the finale. Evidently this cadenza was added later at Page’s request – which certainly went more to weigh the harp part…I would not call Absolute Ocean a double concerto, but rather an orchestral work for soprano with a prominent harp part. I had heard it referred to as a concerto – and would be disappointed as such – luckily it is such a wonderful work, the nomenclature is not important.
5. “Resonant and elegant” finished the 18 minute work and the short first half (the second half was Mahler’s Fourth Symphony) of the concert. The finale paints the words with creative combinations, and has a satisfying and direct ending. Absolute Ocean is a complete success for the Houston Symphony, and kudos to Graf for adding such a gorgeous work to the symphonic world.
There are two more performances of Absolute Ocean, Saturday night at 8pm and Sunday afternoon at 2:30pm. There is another pre-concert talk Saturday at 7:10pm open to all ticket holders. The 2009-10 season has just been announced for the HSO, and includes another Houston Symphony Commission, for chorus and orchestra by Kevin Puts.
Maybe it’s all that cold, dark and ice; stuck inside with nothing else to do for a lot of days must be conducive to composition. At least it feels that way with regard to Canada, since this huge but relatively sparsely-populated space has what seems a disproportionate number of composers that I just love.
And now the Canadian Music Centre has made it awfully easy for YOU to love them as well; at their site you’ll now find a service called CentreStreams, which offers streaming access to the Ann Southam Audio Archive. This comprises a huge number of concert and radio recordings made by the CBC, of Canadian composers A to Zed. Not only that: where else could you find 41 (!) archival recordings of seminal Canadian composer Claude Vivier‘s music — with no less than 6 (!!) different versions of Pulau dewata — all at your computer’s beck and call? They also have a nifty feature that can give you a random paylist by genre (piano, orchestra, vocal, etc.), so your listening experience is never the same twice. Many composers even have the scores of works freely available as PDF files.
You do have to register (free) to get the streams, but it’s quick and painless. CentreStreams is accessible from the CMC homepage, but even easier is heading to the “find a composer” section and browsing the alphabet. Besides the established names there’s also a fair collection of the young guns as well, so you can be right expert on contemporary Canadian music in no time! Personal favorites old and new, that I can pretty well guarantee for excellence, are John Rea, Claude Vivier, Emily Hall, Aaron Gervais (all four pictured above), José Evangelista, R. Murray Schafer, Melissa Hui, John Mark Sherlock, Linda Catlin Smith, Allison Cameron, Rodney Sharman, Monique Jean, Gyula Csapo, Louis Dufort, Gilles Tremblay, John Kosrud, Chiyoko Szlavnics… the list goes on and on. What better way to pass a little of your own closed-in winter days, than discovering some new favorite piece or composer?
While the spotlight on Tuesday will be on the inauguration, it’s also a big day for the music business. Among several important CD releases is the new full length from Animal Collective, Merriweather Post Pavillion (Domino). Hua Hsu wrote an article about the building interest in the band leading up its release in Sunday’s New York Times.
It’s interesting to note that Merriweather is already posting significant sales numbers, particularly for an ‘out’ rock release, on strength of the vinyl version alone (released Jan.6). The recording has quickly become the darling of the blogosphere, garnering a cherished high rating from Pitchfork.
What one imagines will be of even more interest to S21 readers is the level of experimentation Animal Collective deploys on Merriweather. Noise has become an intrinsic part of the band’s soundworld; samples of breaking glass and feedback squalls compete on equal footing with the more conventional materials of pop song. True, part of their aesthetic comes out of the psych-rock movement; but there’s certainly more than a casual nod to daring electronics of the contemporary concert music persuasion.
And, one hastens to add, this is no Kid A, where Radiohead was able to indulge their penchant for new music (including sampling Lansky) by salvaging the songs for pop consumption; placing more ‘widely palatable’ material above the debris. Merriweather is full of the unexpected throughout, entreating listeners to wade into decidedly off-kilter music-making, particularly for an album with this much mainstream buzz (pardon the pun!).
January has brought a richness of performances of contemporary music. At the half-way point on the calendar this has already been a marvelous month, but there’s much more to come. Each of the major music organizations across the county seems to have decided on some exceptional music. I haven’t been able to attend everything: too many tickets, too many nights. Wouldn’t it be nice to be paid to attend the concerts? Wouldn’t it be nice just to afford them all? Oh, well, the old suit will last another year or so before replacement.
The Phil is leading the way, of course, as appropriate to our major music organization. The number of concerts left for Salonen as Music Director is now down to single digits. His valedictory concerts will be of Stravinsky the radical-reactionary (Oedipus Rex and Symphony of Psalms). But the concerts before that all focus on some brilliant new works, Philharmonic commissions or co-commissions. Yes, we’ll have Dudamel, but we’ll certainly miss Esa-Pekka! Last Sunday when he walked on stage to begin the first concert of the year, the applause continued as he stepped onto the podium. The applause continued. He finally had to turn to the audience to acknowledge their welcome before Disney Hall became still enough for the concert.
The first program of the year gave an engrossing, beautiful new work by Arvo Part, Symphony No. 4, Los Angeles. In a rare gesture, Universal Edition published the score of the work, making it available on the internet in December. The symphony is scored for strings, harp, and percussion; often it presents the sound of a single instrument vibrating in the surrounding silence. The work is a meditation, and the thoughts of the symphony are of angels, not of the city named in the subtitle. While a meditation, the work is not restful and offers no easy resolution; the music is tonal, but wavers between major and minor. The score reveals (see the third movement in particular) how Part has the orchestra in two different keys. I had not realized how much the music had drawn me into its own world until we returned from intermission. I had thought that it would be jarring to end the music with Ax playing the Brahms first piano concerto. I found, instead, that the muscular tonality of the Brahms came as a release. The recording of the Part will be a must-buy.
And then this week, another noteworthy work: Kaija Saariaho‘s La Passion de Simone (2006), with Dawn Upshaw in the Peter Sellars production featuring Michael Schumacher as dancer. This Phil co-commission has been withdrawn from the past two seasons, first because of health, last year because of scheduling conflicts. Oh, the wait was worth it. The music shimmers. Dawn Upshaw is peerless. The Sellars dramatization amplifies the language. I must admit, however, that I am not captured by the personality and philosophy of Simone Weil, but I could just concentrate on the music. One point on the artistry of Dawn Upshaw. We could see a TV screen above the stage, facing down to the stage. We wondered what that was used for. Then we saw that Upshaw spent a climactic scene flat on her back in the position of a crucifixion. The screen was for her to see Salonen while singing from the floor. This work is being presented in alternation with the premiere of a new work for orchestra and two pianos by Louis Andriessen. We hear this on Sunday afternoon.
The marvelous Jacaranda series resumed its two-year season celebrating Messiaen. We spoke while walking from the parking structure that we wouldn’t be able to see and talk to Betty Freeman that night, and we will miss her. Jacaranda presented a lovely program of Messiaen and his students, Boulez, Murail, Benjamin, and a follower, Takemitsu. The musicians are skilled, the works are well-selected. We now re-schedule other tickets to attend a Jacaranda concert. Our revitalized Monday Evening Concerts presented an evening of American music. Their program this week started at a high with Kazi Pitelka playing Morton Feldman‘s The Viola in My Life II (1971), and this seems to resonate with some of the sounds of the rest of the month. And we had the first L. A. performances of Rzewski‘s Pocket Symphony (2000) and 96 (2003). We didn’t have tickets for the Los Angeles Chamber Orchestra and their performance, with Yo-Yo Ma, of Golijov’s Azul, in its West Coast premiere.
And coming up we have the Phil’s Green Umbrella concert and Southwest Chamber Music and its program of music by composers who are women: Gabriela Ortiz, Joan Huang, Lera Auerbach, and Thea Musgrave.
Both György Kurtág and Peter Eötvös will be in New York this month as part of the Hungarian Ministry of Culture’s Hungarian Culture Year (“Extremely Hungary”). Carnegie Hall presents two weeks of folk, symphonic, and new music, as well as educational programs performed by today’s most noted Hungarian musicians. Featured highlights of the festival will be three concerts of music by two of Hungary’s greatest living composers.
On January 29 Peter Eötvös will lead Ensemble ACJW in a portrait concert of his music. On the program will be the U.S. premiere performance of Octet Plus (2008) for soprano and wind instruments, featuring a rare U.S. performance by soprano Barbara Hannigan.
The music of György Kurtág will be at the center of the Hungary Festival performances. His Songs to Poems by Anna Akhmatova, Op. 41 will receive its world premiere on January 31 by the UMZE ensemble under the baton of Peter Eötvös. On February 1, in an unprecedented event for New York City, Kurtág and his wife, Márta Kurtág, will perform a full recital of transcriptions and selections from Játékok, Kurtág’s remarkable series of teaching pieces for piano.
[youtube]http://www.youtube.com/watch?v=PQgyyqs4iMQ[/youtube]
What are you doing?
@alma Wassup, Tweeps! G. conducting 2nd 2nite. Goes on 4ever. Stuck at home w/ Evl Sis. Boorrring. about1 hour ago from web
@AlexZ Did u show him my score yet? Did he like it? How much did he like it? Loved it, I bet. about 59 minutes ago from TweetDeck
@gropius Tx, God, u’re there, A. We r in bg trble. Must speak 2 u urg. G. has been talking about us 2 nut case Freud. It’ll be all ovr Vienna. about 59 minutes ago from TweetBerry
@alma OMG. I thought u were the only one G. didn’t know abt already. about 58 minutes ago from web
@ AlexZ Which part didn’t he like? I can re-write it. Always happy 2 do a re-write. about 57 minutes hour ago from TweetDeck
@gropius Crazy bastard said I had an edifice complex. Thinks he’s Woody Allen. about 55 minutes ago from TweetBerry
@ AlexZ I’ll bet it was the 2nd movmnt. Was it the 2nd movmnt? about 55 minutes hour ago from TweetDeck
@alma WTF? Gustav said what about an edifice? about 54 minutes hour ago from web
@gropius No, no, tweetkin. Freud said it. Thinks he’s a comedian. Use 2 work the Salzkammerguts in the summers before he stumbled in2 the psychobabble racket. about 52 minutes hour ago from TweetBerry
@werfel Does he know about me? about 50 minutes hour ago from web
@klimt Thought u were going 2 get the sister fired. Did you tell him she steals like I suggested? about 49 minutes ago from TweetDeck
@ AlexZ Maybe that little coda at the 2 minute mark? I knew that was weak. I was planning 2 re-write that part this evening. Going 2 start on it now. about 48 minutes hour ago from TweetDeck
@alma B cool @gropius. G. sleeps most of the time when he’s not conducting or working on his 6th Poor man, so tired I have 2 keep reminding him 2 put the Scherzo before the Andante. Maybe he won’t hear anything and I can bribe Evl Sis not 2 rat. about 45 minutes hour ago from web
@alma Aside 2 @werfel It’s ok, tweetheart. I havn’t met u yet. (And don’t tell @gropius) about 44 minutes hour ago from web
@klimt Put some of ur jewels in her purse and confront her in front of G. when she goes out. about 43 minutes ago from TweetDeck
@gropius Might work. If he asks about me, tell him I’ve been away in Weimar most of the time starting a new school…the Bauhaus or something like that. about 42 minutes ago from TweetBerry
@AlexZ I knew it. He hated it, didn’t he? You can tell me. I can take it. about 40 minutes ago from TweetDeck
@klimt BTW, Adele has a cold. Can you pose for me on Thursday? You can leave your clothes on this time. LOL. about 43 minutes ago from TweetDeck
@alma Oops. Evl Sis is coming up the stairs. Gotta scurry. Tweeting out. about 40 minutes ago from web
@ AlexZ Wait. Can I drop off my new sonata 2morrow morning? about 40 minutes ago from TweetDeck
Composers, Concerts, Contemporary Classical, Downtown, Electro-Acoustic, Experimental Music, Music Events, New York, Opera
Interpretations continues its twentieth season of provocative programming in New York City. Founded and curated by baritone Thomas Buckner in 1989, Interpretations focuses on the relationship between contemporary composers from both jazz and classical backgrounds and their interpreters, whether the composers themselves or performers who specialize in new music. To celebrate, Jerry Bowles has invited the artists involved in this season’s concerts to blog about their Interpretations experiences. Produced in tandem with La Mama ETC and Performing Artservices, the centerpiece of the series this year is a two-week, three opera, 10 performance, mini-retrospective of the recent works of Robert Ashley: Dust, Celestial Excursions, and Made out of Concrete.
Robert Ashley’s operas will be at La Mama ETC from 15-25 January 2009.
For more information:
S21 Calendar
Interpretations
Mr. Ashley has been kind enough to take some time from his busy rehearsing schedule to write about the ensemble he’s gathered over the past thirty years or so, as a sort of self-interview:
WHO ARE THE ENSEMBLE MEMBERS?
The ensemble now is (alphabetical order in singers / in slight order of importance in technical)
ROBERT ASHLEY: voice
SAM ASHLEY: voice
THOMAS BUCKNER: voice
JACQUELINE HUMBERT: voice
JOAN LA BARBARA: voice
TOM HAMILTON does audio engineering in all stages of the opera, assists me in realizing the composition in the electronic studio prior to performance; he’s the mixing engineer and advisor in rehearsals; he does performance sound processing and mixing of the performance; he’s in charge of recording of the performance and mixing the sounds from the performance for the CD recording.
CAS BOUMANS is the performance sound designer (audience loudspeaker placement and sound monitor arrangements for the performers. Microphone placement.)
DAVID MOODEY does stage and light design.
MELANIE LIPKA is the production stage manager (off-stage timing of what goes into the performance.)
“BLUE” GENE TYRANNY is the synthesizer performer in Dust and Celestial Excursions
JOAN JONAS is the dancer/performance artist in Celestial Excursions
WHEN DID YOU START WORKING WITH THEM?
It’s various, but compared to the life of most ensembles I’ve been working with all of them for a long time, not only in their jobs now with the ensemble, but as musicians and designers.