Sequenza21

There’s been a certain amount of breathless reportage about a new study linking personality and musical taste done by Adrian North at the Heriot-Watt University in Edinburgh, UK. It’s hard to be sure where things went awry, but by the time the media got a hold of the results they were badly exaggerated.

The BBC, for instance, says the research “suggested classical music fans were shy, while heavy metal aficionados were gentle and at ease with themselves.” North himself, interviewed by the BBC, makes similarly bold claims: “If you know a person’s music preference you can tell what kind of person they are, who to sell to. There are obvious implications for the music industry who are worried about declining CD sales. One of the most surprising things is the similarities between fans of classical music and heavy metal. They’re both creative and at ease but not outgoing.” These statements imply a very strong effect—the sort of effect that should mean that if you know somebody’s musical taste you can make fairly accurate predictions about his or her personality.

If you’re starting to be skeptical, you’re not alone. Jonathan Bellman, at Dial M, has a pretty good rant you might want to read.

Knowing that the media is notoriously bad at accurately reporting scientific findings, I wanted to know what we’re really talking about here, so I e-mailed Professor North with a few questions.

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Sonny Rollins, aka the Saxophone Colossus, turns 78 today. Check out the multimedia celebration at his web site.  This year’s focus is on his fans, his web visitors, his greatest inspiration, Coleman Hawkins, and an extraordinary new recording.

Sonny doesn’t seem to be slowing down.  The year began with his 50th Anniversary Carnegie Hall concert. He’s been around the world, all over the US, Europe, and Asia (Japan, Korea, Singapore, Australia). Next month, two new releases celebrate his remarkable creativity, Sonny Rollins in Vienne, his first DVD, and a compilation of live performances, Road Shows, Volume 1.

Watching the gritty HBO series called Generation Kill about a platoon of young Marines at the beginning of the invasion of Iraq, it struck me again how ambivalent music’s relationship to warfare really is.  Sure, one end of the music-as-weapon spectrum runs through the high-brow pacifism of Britten and Michael Tippet and the I ain’t a’marchin’ anymore populism of Phil Ochs.  All we are saying is give peace a chance.

But on the other end lives the beat of tribal drums and primitive rhythms; the ritualistic mix of noise and fire and spirits that sends warriors off on a blood-letting frenzy.  There’s also martial music, which is a form of canned nationalism meant to build pride and a sense of exceptionalism. In Generation Kill, the young Marines head out in their Humvees singing–in appropriate falsetto–Minnie Riperton’s “Lovin’ You.”  A children’s chorus of young men determined to free the world of the Haj and fags and liberals and to prove to themselves and their platoon mates that they are not afraid of death.

The talented young composer David T. Little must have had something like this ambivalance in mind when he wrote Soldier Songs,  an evening-length multimedia performance piece, that will be staged Saturday at 7 pm and Sunday night at 6 pm at  Le Poisson Rouge, 158 Bleecker Street.   Comprised of 11 songs with an original Libretto by the composer, the work combines elements of theater, opera, concert music, rock and animation to explore the dichotomy between war and modern society through the abstract character, the Soldier.

Soldier Songs was first presented in 2006 as a song cycle by the Pittsburgh New Music Ensemble and had its orchestral premiere as part of New York City Opera’s VOX Festival in 2008.  The current Beth Morrison Projects production is the first fully staged presentation of this dramatic work and features a splendid creative team: singer David Adam Moore, members of the ensemble Newspeak, conductor Todd Reynolds, director Yuval Sharon, set/costume designer Chisato Uno, lighting designer Lucas Krech, and animator/video designer Corey Michael Smithson.

One of the threads of this year’s Proms is a survey of the works of Ralph Vaughan Williams in commemoration of the fiftieth anniversary of his death.   On August 26, which was the actual date of his death, the survey climaxed with an all-Vaughan Williams concert by the BBC Symphony, conducted by Sir Andrew Davis.   The first work on the concert, the justly celebrated Fantasia on a Theme of Thomas Tallis; its performance, although maybe not exactly peremptory, was certainly restrained and cool, rather than as impassioned as one might have wished it to be.    It was followed by the ballet score Job, with whose performance one could not argue.   My own feeling about Job is that even though there is much very beautiful music in it, it is a little looser in construction and maybe a little more general in expression that the tightly constructed and closely argued symphonies, and that this is a, for lack of a better word, weakness in the piece.

The second half of the concert consisted of Serenade to Music, a short work setting an excerpt from The Merchant of Venice written to celebrate the fiftieth anniversary of the conducting career of Henry Wood, the founder of the Proms, and the Ninth Symphony.   Serenade to Music was performed, as it was originally intended, by sixteen singers.   It seems to me to be a just about perfect piece, and the performance was beautiful.  The Ninth Symphony is a remarkable work.  It holds a place in Vaughan Williams output somewhat analogous to that of the Requiem Canticles in Stravinsky’s; procedures and material from all earlier periods of his career appear, but both refined and, due to their different contexts, transformed into something new but with enormous added depth and expressive resonance.  Each of the movements is the product of an extraordinarily original concept.   In the first sonata form movement, a tune played by the clarinet accompanied by the harp, followed by a short trio for the clarinets, introduces the second theme; at the beginning of the recapitulation the clarinet tune returns played by the violin, leading directly to the second theme with a descant added on the flugel horn. From that point the events of the recapitulation proceeds in reverse order to that of the exposition, ending with the music for three saxophones that began the movement.    In the second movement a solo line is alternated with a sort of court march which causes the line to fray and proliferate parts, leading to lyrical music for the full orchestra.    The third movement is almost a mini-concerto for the saxophones, starting with perky soloistic lines accompanied by the snare drum and other percussion; that music develops into a fugue which is followed by a chorale that accelerates into very lively cascading music in close harmony that could have come from Duke Ellington and then dissolves, leaving only the ghosts of the accompaniment on the snare drum.   The last movement is a complex two part form which begins quietly and contrapuntally and become a passacaglia somewhat like the last movement of the Fifth Symphony, but with more intensity.   The whole work has a quality of intense urgency. (more…)

It’s been three years since the human and moral disaster that was Hurricane Katrina overran New Orleans and uncovered an ugly blight on America’s soul.   To help make sure that nobody forgets, New Amsterdam Records will release a digital version of Ted Hearne’s powerful work Katrina Ballads on August 29.

“It is my hope that setting primary-source texts from the devastating week in 2005 when Katrina hit will help us keep this time active in our memory, challenging us to cut through the spin that followed, and bringing us closer to an understanding of the true aftermath,” Hearne says.  “New Orleans has long been a musical epicenter and a real crossroads of culture. The musical influences present in Katrina Ballads are plentiful and diverse. In that sense, this work is a tribute to the life of music, and its ability to shape and inspire us.”

The piece has 11 instrumentalists and 5 singers and it’s an homage to New Orleans rooted deeply in American music, as is evident in the variety of musical styles of the singers featured in the recording. Some of the instrumental performers are staples in the NYC classical music scene while others are from Charleston, South Carolina and are predominantly jazz players. The singers are a mix of contemporary classical, gospel, R&B, and musical theater performers. You will hear influences of gospel, jazz and spirituals into the sound of the music, along with an operatic feel at times.

Thanks to Ted Hearne, here are a couple of  songs from Katrina Ballads:

anderson-cooper-and-mary-landrieu

brownie-youre-doing-a-heck-of-a-job

Among the focuses of the Proms this summer are the centennials of Elliott Carter and Olivier Messiaen and the eightieth birthday of Karlheinz Stockhausen (due to his death in 2007, the celebration of his birthday was fused with a commemoration of his life’s work). Although the first night concert included the first performance of a Proms commission from Carter, the piano piece Caténaires, he is only represented by three other works, the Oboe Concerto, Night Fantasies, and Soundings, as opposed to eighteen works of Messiaen, several of them, including the opera St. Francis of Assisi, to be played on September 7, major works of considerable length. The Stockhausen celebration included a Stockhausen day on August 2, which included performances of Gruppen and Stimmung, among other pieces, as well as a performance of Punkte on August 22, which was his actual birthday.

Carter’s Soundings, which received its first UK performance on August 18 on a concert by the BBC Scottish Symphony Orchestra, was written in 2005 as a present for Daniel Barenboim when he left the post of music director of the Chicago Symphony Orchestra. Since Carter’s intention was to celebrate Barenboim as a musician who regularly directs performances of Mozart piano concertos in which he is also the soloist, he cast the work for piano and orchestra intending that the piano soloist would also be the conductor. It goes without saying that the rhythmic and ensemble difficulty of Carter’s music is greater that that of Mozart’s, making the realization of the idea of a conductor playing along with the orchestra a challenge. Although there are certainly ways that could have been devised to deal with this problem, Carter chose to side step it altogether by, basically, never having the piano and orchestra play together. The piece begins with a piano solo, there is a short interjection by the orchestra, the piano plays a little bit again, then there’s a long stretch of orchestra music; there is a very brief exchange of single notes on the piano (the notes, D and Bb, being, of course, Barenboim’s initials–in fact, D is also the first note of the piece, and Bb the last), and then the piece ends with a piano solo. In a performance where the soloist and the conductor were the same, the skimpiness of the interaction might not be so noticeable, but in this performance where the piano, moved off to the side of the orchestra, was played by Nicholas Hodges and the conductor was Illan Volkov, it was not only noticeable, but a little strange and unsatisfying. I have to admit that I found myself wondering if Carter charges by the minute for his commissions, and how much he got paid for this one.

Although Carter’s program notes didn’t explain the title, I assume that it probably refers to the practice of using sounds and echos to measure underwater distances. In this case bursts of fast notes, usually in the winds, are answered by sustained notes, usually in the strings, outlining the boundaries of the registers used. Carter is a master, and in Soundings, as in all his other music, both the instrumental lines, which are always wrought in a masterly fashion, and the unfolding of the music through time, are always skillful and elegant. There’s no question of it being anything other than first rate music. However, it is clear that the piece is, to say the least, not one of Carter’s most important or profound works. Virgil Thomson’s comment on the Beethoven Irish folk song arrangements seemed applicable here: it’s like getting a letter from somebody who can really write, about nothing in particular. (more…)