The Original New Music Community
Florent Ghys has a new CD coming out on Cantaloupe on Tuesday. To mark the occasion and the upcoming The Union is in a State address by President Obama, we offer this sample of Florent’s handiwork.
Music for Multiple Basses, and the President of the United States from Bang on a Can on Vimeo.
1. Kyle Gann recently posted Carolyn Yarnell’s piano piece The Same Sky on his blog. (Click here and scroll down for the link to the recording) He calls it “one of the most fantastic keyboard works anyone’s written in the last 20 years” and I have to agree. Kathleen Supové is the pianist, and she tears it up.
2. Swedish electronic rock duo The Knife was commissioned by a Danish performance company called Hotel Pro Forma to write an opera about Charles Darwin. The result, which was premiered in Copenhagen in September 2009, is called Tomorrow in a Year, and based on the material available on the web it looks extraordinary. Here’s The Knife’s Olof Dreijer talking about the project on the band’s website: “At first it was very difficult as we really didn’t know anything about opera. We’d never been to one. I didn’t even know what the word libretto meant. But after some studying, and just getting used to opera’s essence of pretentious and dramatic gestures, I found that there is a lot to learn and play with. In fact, our ignorance gave us a positive respectless approach to making opera. It took me about a year to become emotionally moved by an opera singer and now I really do. I really like the basic theatrical values of opera and the easy way it brings forward a narrative. We’ve approached this before in The Knife but never in such a clear way.”
Here’s “The Coloring of Pigeons:”
An album of music from the opera is slated for release on March 1st, 2010. I don’t see anything about plans to bring the production to the United States, but a guy can hope.
Head’s up on a couple things this coming week that caught my eye:
WPRB’s Marvin Rosen is doing a special edition of his Classical Discoveries radio show this Wednesday, Jan. 27th. From 5:30 until 11:00 AM EST. Titled “East Meets West“, the entire five-and-a-half hours will be devoted to works by Middle and Far Eastern Composers, as well as to works by Western composers inspired by these regions. A special treat in the 10-o’clock hour will be the world premiere broadcast of the Sonata for solo viola Op. 423 (1992) by Alan Hovhaness (1911-2000), performed by Christina Fong (from a brand-new OgreOgress release). Then from 11AM until 1PM, Marvin’s guest will be composer/improviser/percussionist Lukas Ligeti. A swell time all around, and as always no matter where you are your computer can bring you the broadcast live.
If you happen to be on the other coast that same day (Jan. 27th), you’re in for a treat if you head to the Pasadena Central Library (Donald R. Wright Auditorium, 285 E. Walnut St.) at 6PM PST, for a concert presented by Cellogrill (über-cellist Jessica Catron) and the Pasadena Creative Music Series. The concert opens with the world premiere of composer Cat Lamb’s Branches for just-intoned female choir assembled especially for this occasion. Next up, MISSINCINATTI follows with folk songs of land and sea; forgotten tales about fantastical crocodiles, maritime ghosts and work in the mines illuminated before your very eyes with the assistance of many special musical guests. And finally, the compositions of RATS can confound and delight like a musical retelling of The Wizard of Oz by Captain Beefheart. And all this for the princely sum of FREE.
Champ pianist Sarah Cahill performing Henry Cowell’s Tiger and Lou Harrison’s Largo Ostinato, from the December 2008 Other Minds “New Music Seance”:
[youtube]http://www.youtube.com/watch?v=S7Qm6rEwT54[/youtube]
Big news in the orchestra world. Starting next season (2010-’11), George Manahan will become the American Composers Orchestra’s Music Director. He will continue as Music Director at the New York City Opera.
In my view, this is good news indeed. Manahan is a superlative musician; he’s conducted some excellent performances of contemporary fare at NYCO. One hopes that his name will entice new audience members to check out the ACO.
Kudos as well to outgoing director Steven Sloane, who’s done an admirable job with the ensemble since 2002.
Thoughts on the shakeup? The comments section is open below!
I like to plan ahead. But does that just mean I’m too old to decide where I’m going at the last minute, like the Generation Y and Z impulsives we hear so much about at arts participation conferences? You know, the ones who don’t know where they’re going until somebody they’re following tweets their destination on the night of?
Mid-life insecurities and fuddy-duddiness aside, I know where I’ll be this coming Saturday evening: in the San Francisco Conservatory of Music’s sweet new Concert Hall, taking in new short works by ten local composers, all presided over grandly by Gyorgy Ligeti’s Chamber Concerto for 13 instruments. sfSound is the presenter, and they’ve cast a wide commissioning net to figures from our many micro-scenes. Including, as my colleague Christian Carey reported earlier this month, Greg Saunier from avant-prog adventurers Deerhoof; plus Heather Frasch, a Ph.D. candidate at UC Berkeley, Canner MEFE of underground harsh noise fame, Mills College Contemporary Music Co-Director Maggi Payne, and composer/improviser/performance artist Theresa Wong.
All of the composers were commissioned to make new works especially for this concert, entitled Small Packages. Some works are inspired by, and others are meant to contrast with, the regal Ligeti Chamber Concerto. The eight core sfSound performers, plus seven other veterans of the series, will spread their expertise around from the Ligeti work to each of the new pieces.
The San Francisco Conservatory of Music Concert Hall can be found at 50 Oak Street in San Francisco’s Civic Center neighborhood, convenient to the eponymous BART station. Admission is $15.00, although those of us who are “underemployed” can take advantage of an $8.00 price. If you don’t want to take your chances at the door, you can order tickets online from Brown Paper Tickets.
The tremendously devastating earthquake in Haiti has brought forth a wonderful outpouring of donations from all corners, to a lot of fine organizations dedicated to helping these folk through the weeks and months ahead. Sometimes though, it takes a little extra prod to dislodge those few more dollars that, while so small here, can make an enormous difference in the survivor’s well-being.
That’s why musicians (including some of the regulars from around here) who regularly meet up on various sites around the web decided early on to make up an online CD of works, the proceeds from which will virtually all go to buying basic food relief for the survivors. Using the innovatory music platform BandCamp, The CD was created and made available literally within days of the disaster; BandCamp also provides an easy and efficient way for folks to pay online, and to get that money back and out to Food for the Poor. Each $20 donated buys 100 pounds of rice and beans, basic staples every Haitian needs now. 96% of all the money goes directly for food purchases; the artists involved aren’t making a dime.
There are 19 musicians who have donated contemporary/experimental/improvisational tracks for the CD; not only from the U.S. but the other sides of both oceans as well. The minimum amount to purchase and download the tracks is a mere $5.00, but you’re more than welcome to make your payment any higher amount, too. So far in just the first two days of its release a couple hundred dollars have already been raised, but of course they’d like to keep it coming.
Those of you have have already given directly to this and other relief organizations, we salute you. But if perhaps someone’s been a little slow, maybe this might help motivate them to part with just a little cash. Whatever it takes, if it brings in even a few more dollars then good things can happen.
In the old movies, when someone needed help the scrappy kids always said “let’s put on a show”! Think of this as the 21-century version of the same idea, except with scrappy new-music composers and performers.
Many people are still talking about the New York production of John Adams’ latest opera, Dr. Atomic. But Adams wasn’t through with the material after its stage presentation.
Nonesuch recently released a symphonic version of music from Dr. Atomic; Dr. Atomic Symphony is paired with Guide to Strange Places on the CD.
There’s also a DVD release of the opera, in its Netherlands production, available on Opus Arte.
Sequenza 21 readers: How do you prefer Dr. Atomic, in its operatic or symphonic incarnation? The comments section is open for feedback.
Our own Lawrence Dillon’s The Infinite Sphere will be given its World Premiere performances by the Daedalus Quartet tonight, Friday, January 15 – 8 PM as part of the Discovery Series at The Barns at Wolf Trap in Vienna, Virginia and on Saturday, 7:30 PM at Watson Chamber Music Hall of the University of North Carolina School of the Arts in Winston-Salem.
Commissioned by the Daedalus Quartet in conjunction with the Thomas S. Kenan Institute for the Arts, Dillon’s fourth quartet takes Pascal’s reference to “an infinite sphere, whose center is everywhere and whose circumference is nowhere” as the inspiration for a virtuosic wheels-within-wheels journey.
The fourth quartet in Dillon’s Invisible Cities String Quartet Cycle — a set of six quartets that explore connections between Classical forms and contemporary experience — The Infinite Sphere not only takes the form of a Classical rondo, it also adopts the rondo spirit, using popular dance music as material.
Winner of the 2007 Guarneri String Quartet Award from Chamber Music America, the Daedalus String Quartet is the resident quartet for the University of Pennsylvania and Columbia University.
Lawrence is Composer in Residence at the University of North Carolina School of the Arts and currently has commissions from the Emerson String Quartet, the Mansfield Symphony, the Boise Philharmonic, the Salt Lake City Symphony, the Daedalus String Quartet, the University of Utah Philharmonia and the Idyllwild Symphony Orchestra.
Technology has democratized music in ways that are surprising even to me, revolutionizing access to any music anytime with iPod and iTunes, opening interactive musicmaking to amateurs with Guitar Hero and Rock Band (which both grew out of a group I lead at the M.I.T. Media Lab), providing digital production and recording facilities on any laptop that surpass what the Beatles used at Abbey Road, and redefining the performance ensemble with initiatives like the Stanford iPhone Orchestra and YouTube Symphony.