Composer/keyboardist/producer Elodie Lauten creates operas, music for dance and theatre, orchestral, chamber and instrumental music. Not a household name, she is however widely recognized by historians as a leading figure of post-minimalism and a force on the new music scene, with 20 releases on a number of labels.
Her opera Waking in New York, Portrait of Allen Ginsberg was presented by the New York City Opera (2004 VOX and Friends) in May 2004, after being released on 4Tay, following three well-received productions. OrfReo, a new opera for Baroque ensemble was premiered at Merkin Hall by the Queen's Chamber Band, whose New Music Alive CD (released on Capstone in 2004) includes Lauten's The Architect. The Orfreo CD was released in December 2004 on Studio 21. In September 2004 Lauten was composer-in-residence at Hope College, MI. Lauten's Symphony 2001, was premiered in February 2003 by the SEM Orchestra in New York. In 1999, Lauten's Deus ex Machina Cycle for voices and Baroque ensemble (4Tay) received strong critical acclaim in the US and Europe. Lauten's Variations On The Orange Cycle (Lovely Music, 1998) was included in Chamber Music America's list of 100 best works of the 20th century.
Born in Paris, France, she was classically trained as a pianist since age 7. She received a Master's in composition from New York University where she studied Western composition with Dinu Ghezzo and Indian classical music with Ahkmal Parwez. Daughter of jazz pianist/drummer Errol Parker, she is also a fluent improviser. She became an American citizen in 1984 and has lived in New York since the early seventies
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Wednesday, August 03, 2005
Ethics of Blogging
Some people use blogging as a way to vent any kind of frustration, and if this outlet functions as a kitchen-sink form of healing (throw it all in there), it tends to use the readers as a bouncing device. But as blogging is an exercise in our newfound freedom of expression, I hesitate to recommend any kind of limit on what to say.
The question is, what does the blog accomplish? Is it simply a selfish, egotistical tool of power or revenge, or is it a way to serve the music community by providing positive, creative ideas?
Blogging etiquette is very much up to the blogger. My own etiquette, as I am an essentially ethical individual, is to avoid causing harm by what I say, which means that I will not criticize my colleagues, or praise my friends just because they are my friends - because I am not the most objective in that situation. If I mention someone else in the blog, I make sure they are aware of it by exchanging a few emails or calls with them before hand and fully approve of what is being quoted.
I also make an effort to check my facts and not print anything that is misinformed or misspelled.
There is nothing else, beyond these simple rules, to censor the chit chat.
posted by Elodie Lauten
8:13 AM
Monday, August 01, 2005
Carnegie Hall Revamped
Once upon a time, Carnegie Hall was the either apex of someone’s career, or a highly desirable debut – but the excitement has somewhat faded the late 20th century, since anyone with a budget can buy themselves a debut at Carnegie Recital Hall. However, with the general renovation and the construction of Zankel Hall, Carnegie is kindling an old flame.
My friend Bobby tells a story about Zankel Hall… He went there to hear a John Cage piece where the performers are to react to a happening in the space… and during one of those quiet moments, when the performers stopped, waiting for a chance event as a cue, the faint rumble of the subway filled the silence and ebbed, and they resumed the piece. In New York, short of complete soundproofing, we have to accept extraneous noise as part of music. When I first started composing, I used to add noise soundtracks to all my pieces because that’s how I heard them, always mixed in with some unrelated noise that my keen ear would detect, no matter how soft.
The program for Carnegie Hall’s upcoming 2005-06 season reads like a Balzac novel, enhanced by 70s retro Polaroids, mostly of of the performers, more rarely the composers.. Overall, the quantity and variety of programs is simply amazing.
The following is a brief overview from the point of view of living composers.
Orchestral:
Thomas Adès, Asyla, Berliner Philharmoniker
John Corigliano, Symphony No 1, National Symphony Orchestra
Jennifer Higdon, Percussion Concerto, Philadelphia Orchestra
Anders Hillborg, Exquisite Corpse, Royal Stockholm Philharmonic Orchestra
Michael Jarrell, Cassandre, St Louis Symphony
Giya Kancheli, …al Niente, St Petersburg Philharmonic Orchestra
Bright Sheng, (untitled as yet…), Philadelphia Orchestra
Melinda Wagner, Extremity of Sky, piano concerto, National Symphony Orchestra
Charles Wuorinen, Theologoumenon, world premiere, MET Orchestra
Chen Yi, Si Ji (Four Seasons), Cleveland Orchestra
Chamber Music
Cellist Maya Beiser will play works buy Jody Talbot, Brett Dean, Tan Dun, Chinary Ung, Michael Gordon, and Eve Beglarian, while Midori plays Judith Weir, Isang Yun, Alexander Goehr, Gyorgy Kurtag and Witold Lutoslaski
The Kronos Quartet has its own series at Zankel, with works by Alexandra Du Bois, Michael Gordon, Glenn Branca, James Thirlwell, Franghiz Ali-Zadeh, Rahman Asadollahi, Terry Riley, Chen Yi.
I omitted the dates since most of this will take place next year. But this is your chance to see who’s in and who’s not… I am happy to see an effort to include new American works, although the program shows the usual propensity towards Pulitzer prize winners and the like.
NOTE: http://johncageshoes.blogspot.com/ is a new blog about John Cage posted by Michael Andre.
posted by Elodie Lauten
3:51 PM
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