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SEQUENZA21/
340 W. 57th Street, 12B, New York, NY 10019

Zookeeper:   
Jerry Bowles
(212) 582-3791

Managing Editor:
David Salvage

 Contributing Editors:
Galen H. Brown
Evan Johnson
Ian Moss
Lanier Sammons
Deborah Kravetz
(Philadelphia)
Eric C. Reda
(Chicago)
Christian Hertzog
(San Diego)
Jerry Zinser
(Los Angeles)

Web & Wiki Master:
Jeff Harrington

Latest Posts
Last Night in L.A. - Minimalism
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I Didn't Know What Time It Was
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You Don't Need a Weatherman to Know Which Way the Wind Blows
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Record companies, artists and publicists are invited to submit CDs to be considered for review. Send to: Jerry Bowles, Editor, Sequenza 21, 340 W. 57th Street, 12B, New York, NY 10019

Wednesday, March 22, 2006
There Stands the Glass


The joint was packed for Capital M's world premieres extravanganza at The Cutting Room last night. Granted, it's not a huge room and many of the attendees seem to be friends of one or another of the seven composers whose works were presented--Jennifer Fitzgerald, Stefan Zeniuk, David Claman, Capital M capo Ian Moss, Monika Heidemann, Bradley Kemp, and Frank J. Oteri. But, there was tremendous enthusiasm and receptivity for the new pieces which suggests that the kind of experimental, genre-bending music that Capital M is pioneering holds great promise for audience-building for "serious" music among people who cut their musical teeth on rock. The program was extremely daring and diverse--like watching circus perfomers walking the high wire without a net--but never less than thoroughly engaging. The composers all took risks and the Capital M gang played with genuine commitment. This stuff is not easy to play and they did a superb job.

My one critical observation is that the pieces that worked best were those that displayed rock attributes--primitive, free, loud, dissonant--rather than those that simply adapted conservatory techniques to traditional rock instruments. The piece that best captured the rock spirit was Frank J. Oteri's Imagined Overtures, especially the third movement which employed three guitars--one tuned regularly, one tuned a sixth tone higher and the other, a sixth tone lower--to create the ugliest, rawest, most dissonant chord yet heard on Planet Earth. Backed by a pounding, relentless drum beat, the piece built to a shattering, earth-moving (you should forgive the word) climax. It was sophisticated without sacrificing the raw power that gives rock its inherent strength.

And, it was the only piece that made me want to scream afterwards: "And there ain't nothing I can do about it."
posted by Jerry Bowles 3/22/2006



 
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