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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
4 X 4 / Fresh Voices VI Festival in San Francisco
New Music To March To
The Death of Classical Music Has Been Greatly Exaggerated
Wasting Away in Margaritaville
Interactive Composition
John Corigliano meets The Apprentice
A Candy-Colored Clown They Call the Sandman
The rite of Spring Reverb
Dispatch from the Lyric
Calling All Tubbies


 

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, May 31, 2006
Mein Fuhrer, I Can Walk!

Too many distractions to get around to posting yesterday but I did want to point to a wonderful story in yesterday's New York Times by Daniel Wakin that raises the intriquing question: Did that nine-foot Steinway-D grand piano, serial No. 261324, hidden away in a dormitory of Columbia University's College of Physicians and Surgeons really once belong to Rachmaninoff?

On a considerably smaller scale (don't moan, please), Steve Layton recently uncovered one of his moldy oldies--Three Pieces for Toy Piano (1980)--composed for a 2-octave Schoenhut upright toy piano while he was babysitting a very large nuclear warhead for the Air Force under a Kansas cornfield. You can hear it here.

Here's something that looks promising. Boston Modern Orchestra Project and Opera Boston are presenting the North American premiere of Peter Eötvös' new opera, Angels in America, based on Tony Kushner. Dates are June 16, 17, 20 and 24. Details here:

Now Playing:

Piano Music by Emmanuel Chabrier
Angela Hewitt
Hyperion

Having taken a mere ten years to hammer her way through the entire piano oeuvre of Bach, the formiable Angela Hewitt has now taken on the French impressionists with her usual quirky, yet strangely compelling, flair. Poulenc said of Chabrier's Dix pieces pittoresques that they were “as important for French music as the preludes of Debussy” and Hewitt makes a persuasive case that Francis wasn't just whistling La Marseillaise. All of the pieces here are highly atmospheric and charming; their "Spanish" rhythms sound as they were filtered through the ears of a Frenchman on holiday which, of course, they were. "Impressions" is exactly the right word for these delightful short pieces. Chabrier's work relates to that of Dubussy and Ravel rather like Cezanne's relatively crude early paintings compare to the more sophisticated works of Manet and Monet. They are precursors but they also have a power that is uniquely their own.
posted by Jerry Bowles 5/31/2006



 
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