Click Picks

Broadcast, Click Picks, Contemporary Classical

Re-cue the Wobbly “Meistersinger”

Robert Gable at his aworks blog flagged this gem of news from Dennis Bathory-Kitsz’s We Are All Mozart site:

Beginning this summer, we are bringing back Kalvos & Damian — not the old format of the New Music Bazaar, but rather Kalvos and Damian: In the House!  … We shut down the show in September 2005 after 537 episodes, but the demand for our show has never quite relented. We will start with the four interviews we did not broadcast during the show’s initial run, and then continue with Art Jarvinen and, if things go well, with Lisa Whistlecroft. By then we should have a schedule set up. K&D will not be on the air, which will give us more flexibility to conduct the interviews at our leisure and not be locked into time or geography. The show will be recorded on each end (or all three ends, if David “Damian” Gunn stays home) using a Skype connection, and the resulting recordings dropped atop one another. Fun a-comin!   ~ Dennis

K&D’s original New Music Bazaar was truly a new-music treasure — and still is, since virtually all of the shows are still being archived on the web for your listening pleasure. Dennis/Kalvos and David/Damian (for those not familiar, handily branded with scarlet letters for life by me in the above photo) have selflessly, and often absurdly, promoted a huge swath of new-music activity that often gets little notice or airplay. Chock-a-block full of interviews, music, and offbeat stories, the shows aren’t always (or even often) serious, but the underlying commitment and love for new, living music most definitely is. Stand by your internet dial, and we’ll let you know when links to the show are up.

Update: By the by, Dennis was recently interviewed by current Vermont composer-in-residence David Ludwig, and you can view the whole thing online.

Click Picks, Minimalism, Piano, Recordings

Everything Gets Easier

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Steve Reich’s seminal 1967 Piano Phase has always been a fantastic challenge for any two pianists. But here is the Russian Peter Aidu (b. 1976) going them all one better, by performing both parts solo, on two pianos at once.

Released on the netlabel Top-40, the complete recording is available to freely download at Archive.org. (There’s also a link there to further information on the pianist and release, and the MP3 download at Archive.org is fine, but I would recommend NOT visiting directly the Top-40 homepage. There may be some malware lurking there!)

Click Picks, Composers, Contemporary Classical, Piano, Recordings

We Are All Amaranth

James CombsJames Combs, composer… Ah, where to start?… I met James years ago, in our formerly-shared hometown of Seattle. Truly a “regular-Joe” in person, giving little hint of the ornate wheels spinning underneath. An anecdote on James’ blog seems a perfect illustration of the man and the work:

A Minimalist Experience
A boring Sunday, really not so much different than any other Sunday.  March 16, 2008, I went for a drive to run some miscellaneous errands.  My wife informed me that we were in some need of household items which could be purchased at the nearest store.  So heading to the store on this boring Sunday, I am ever increasingly slipping slowly, steadily, into a trance state while driving.  I am sure it was not unsafe, and I believe there is a name for it.  Highway hypnosis.  The condition where you arrive at your destination while not recalling much of the way there.  I remember arriving at the store that boring Sunday and noticing the parking lot was quite full.  This pulled me out of my trance to an irritating degree.  Not finding one parking spot, my wife decided to run in and get the couple of items and I would simply drive around the parking lot until she made her way back outside.  So I started driving steadily, cautiously through the parking lot which went in a round about.  The first loop, I was concerned with looking out for other cars, but I have to say by the time I made it to my second lap I was really feeling the track, memorizing all the angles.  By the time I hit the third lap I was steering around vehicles and halting with expert dexterity for crossing traffic through the parking lot, the track.  I can’t remember what lap I was on when my cell phone rang and woke me up from my hypnotic state.  It was my wife wondering why I kept driving past her, waiting outside the front of the store.

Self-taught, James writes smallish, fairly static, elegant and polished yet absolutely irrational piano pieces. Pieces from another century’s drawing room — though that century could only be invented in the here and now. Maybe if we overlayed glass slides of Chopin, Satie, Stravinsky, Feldman, Glass, Eno, then maybe… Each small piece has the quality of a Mark Ryden painting; antique poise and luminescence recalled in a disturbing dream from just last night. James makes no claims to intrude on Brian Ferneyhough’s turf; yet for all their simplicity these modest piano pieces show the most wonderful intuition for line, sonority, weight and color, all at just the right moment. I suppose we could call the pieces “etudes”, but what they teach would be philosophical rather than technical. There’s also a kind of deadpan humor, a bit of Buster Keaton or even Steven Wright (“I went to a restaurant that serves ‘breakfast at any time’. So I ordered french toast during the Renaissance.”) running through the whole ethos. So what kind of music is this? Again, I’ll let James explain:

“Classical” … The meaning of this word pertaining to music obviously is defined as a musical form.  So what is this meaning?  Ask any average guy and he would probably say “like what Mozart and Beethoven composed.”  Hey, he would be absolutely correct.  I mean, there was an age long ago termed the “classical period.”  This period was defined not only within the music, but paintings, architecture, poetry, etc.

So if you ask the average “Joe” what contemporary classical is, they might scratch their head and reference ?  I mean, most likely.  And that’s the problem.  Is rock a period?  Is jazz a period (I know about the age, but we’re talking music)?  The term “classical” is a definite problem.  It links the past to the present under false pretenses.  Imagine Philip Glass or Steve Reich being asked “what genre of music to you compose for?”  They answer “impressionism.”  That is if we swap out the word classical in favor of the word impressionism, both a period so would it matter? 

Does the use of the word classical as a blanket definition of all eras of this form in turn form a bias within academia and elitists?  Meaning, to pick classical as the word might say to some that the era of classical itself is the most relevant to every genre.  Here in Seattle our “classical” radio station rarely strays (some might say deviates) from the baroque, classical and romantic eras.  I would bet that to be the case for every metropolitan city around the world. 

Do you want a solution?  Take out “classical” as the definition of all periods in aforementioned music and replace with “amaranth.”  An unfading flower. 

I compose amaranth music.  I compose amaranth music in a contemporary style.

James first self-produced CD release, Charmed Elixers, is available now on both CD Baby and iTunes.

Click Picks, Composers, Contemporary Classical, Online

A Second Life for New Music

Tim RisherTim Risher is a composer that I bumped into a long time ago on this here web thingy. His illustrious career has taken him from making new music in Florida, to a long stint producing radio in Germany, to currently doing — well, something or other — in deepest, darkest Durham, North Carolina.

One of Tim’s latest personal ventures involves the wildly-popular virtual world of Second Life. There, people seem to carry on just like they do out here in the real world, except they get to make it — and even themselves — into anything they can dream up. Like the Royal Liverpool Philharmonic, which gave a “virtual” concert in there just last autumn. 

What Tim has dreamed up in his own little patch of turf within Second Life, is a place called HD Artists (for you folks who already wander this alternate world, here’s a link directly to his place). I’ll let Tim himself explain:

HD Artists is a virtual New Music center in Second Life. The center has only just opened, but we plan on having:

A wall of CD players letting you hear music samples of different composers along with a link to their website.

Links to various publishers of new music.

Soon we hope to present live performances at our building as well, this will take a while to suss out, though.

Going to places in Second Life is a lot like walking around in a 3D blog, or better, a 3D fashion magazine. And visiting concerts there are just like, well, a 19th-century fashion magazine salon. But the concerts are quite enjoyable, it is really like listening to a real-life concert (which, in fact, that’s what it is), but with all the trappings of Second Life.

If you’re interested in learning more about HD Artists or would like a link there, feel free to contact me.

Tim asked me if I’d like to have my own music up in the place (even though I don’t hang in that particular world just yet), and I said sure, why not? If you’re ready to go virtual, send Tim an email at timrisher@googlemail.com. Maybe we’ll all get two free virtual tickets to the inaugural concert…

Click Picks, Concerts, Contemporary Classical

Frankly, Psappha

Psappha(OK, OK I know, the puns don’t come any worse than that…) No F.Z. music, but rather a reminder that The excellent U.K. ensemble Psappha (with help from Lancaster University and the BBC Singers) is in the middle of a great webcast series. You can watch and listen already to any of the pieces from the first two concerts, the third concert available March 31st.

Webcast #1 includes Larry Goves’ Four Letter Words, Gyorgy Kurtag’s Signs, Games and Messages and Scenes from a Novel, and Gyorgy Ligeti’s Aventures & Nouvelles Aventures. Webcast #2 is all Claude Vivier: his Et je reverrai cette ville etrange, Shiraz, Glaubst du an die Unsterblichkeit der Seele? and Journal. The final webcast offers Gordon McPherson’s Celeste Unborne, Edward Cowie’s Psappha Portraits, and Steven Mackey’s Five Animated Shorts.

Click Picks, Composers, Contemporary Classical

Kagel Über (and Ubu) Alles

KagelUBUWEB is playing online host to an excellent hour-long WDR documentary on Mauricio Kagel. Of course it’s in German, but don’t let your lack of the lingo stop you from clicking over there and watching. Scenes of Kagel rehearsing his Divertimento with the Schönberg Ensemble & Reinbert de Leeuw at the 2006 Donaueschinger Musiktage are intercut with footage of Kagel and a number of his earlier works from the 60s and 70s. There’s plenty of Kagel’s love of theater and the absurd, careful fascination with all kinds of sound and action in music, and just plain play on show in this one.

Click Picks, Contemporary Classical, Recordings

The Last Word in Listening

Last.fm is a social-network/music site out of London, whose visitors play a huge part in creating their vast database on musicians, their recordings, their popularity, and music of related interest. Users contribute by providing hard information, photos, opinions, and even “tags” that end up linking like-to-like across the spectrum. But many also download a bit of software as well, that keeps track of what they listen to on their computer. This information is used to build a profile of a listener’s likes, and lets Last.fm steer them towards other new music they’re likely to enjoy. If you’re a musician with recordings out there in the world, chances are good there’s already a page at Last.fm with your name on it. (If that’s you on the page, you can create an artist account and “claim” it, adding pics, bio, info, even music to the page. There were three different pages on even little ol’ me! — that I discovered, corralled and am tidying up).

But the big news these past days is that Last.fm has worked out a deal with all the Big-4 music labels (EMI, Sony BMG, Universal and Warner) and numerous independents, that makes it possible to go to the site, simply type in a name, a “tag” or genre, and just start listening to complete tracks by that composer, performer or musician. You can listen by individual artist or album, or you can listen to a varied “radio” stream of music in the same genre. In the current beta version, you can listen to any track freely three times; after that (or before, if you were already feeling spendy) you can purchase the MP3s to download and keep. Even completely independent artists can sign on, upload and sell their music there, being paid directly by Last.fm.

How it all plays out… who knows? But artist or listener, just head on over and give it a test-drive.

Click Picks, Contemporary Classical, Deaths, Experimental Music

And one more…

Henri ChopinHonest, I swear this is Sequenza21, not the obituaries. But this is otherwise (and unfairly) likely to pass unnoticed in our usual music-blog land: Henri Chopin, one of the pioneering figures in sound poetry, passed away in France on January 3rd.

Born in 1922, he was one of the great explorers of a poetry that favored supremacy of the voice — in all its manifestations — over the “tyranny” of the word. An early adopter of tape recorders and the same electronic studios European composers were at work in, and for many years an active publisher of magazines that disseminated many of the leading voices of the 50’s, 60’s and &70’s, his influence on a whole generation of avant-garde poets and musicians was strong (though largely unheralded over here). Even though officially labeled a poet, Chopin’s work was just as much a kind of music.

A generous free sampling of his recordings are kept on their own page at UBUweb, and a bit more is to be had at Erratum.org.

Click Picks, Contemporary Classical

Steve’s click picks #41

Our regular listen to and look at living, breathing composers and performers that you may not know yet, but I know you should… And can, right here and now, with so much good listening online:

2005 Snapshot: Music at Northwestern University

Northwestern University

Obviously a picture from a warmer season… Northwestern has a killer location, right on Lake Michigan, just a bit north of downtown Chicago. I’ll be heading that way for a week in late January (tagging along for my wife’s special management class), and in honor of the visit I thought I’d share the site linked above, full of streaming audio and video of music from Northwestern.

Though it doesn’t give dates, I can deduce that the series was created in 2005, when somebody probably had some pocket change to spend on a promotional series: Jason Eckardt was on the faculty, not yet replaced by our S21-visitor Aaron Cassidy (himself since moved on to Huddersfield, UK); John Adams had the Nemmers Prize residency, since awarded to Oliver Knussen. The range of listening is great, with works by Berlioz, Mahler, Prokofiev, Hovhaness, Tallis, Handel, Bach, Brahms, Monteverdi, Mozart, Beethoven, Dello Joio, Debussy, Adamo, Bernstein, Hindemith, Zappa, Carter, Tower, Milhaud, Shostakovich, etc, etc…

Of special interest to our crowd though, is the Faculty Composers show, with pieces by Jay Alan Yim (a personal favorite), Augusta Read Thomas, Amy Williams, Stephen Syverud, and Jason Eckardt. And, since he was there then, we have an entire show on John Adams, with an interview, complete performance of Gnarly Buttons, and good chunk of Grand Pianola Music. The music files are .MOV files, which play fine on Macs and any PC with Quicktime installed.

Click Picks, Composers, Contemporary Classical

Steve’s click picks #40

Our regular listen to and look at living, breathing musicians that you may not know yet, but I know you should… And can, right here and now, since they’re nice enough to offer so much good listening online:

Julie Harting (b. 1957 — US, NYC)

Julie HartingThe talk is always “Oh that Schoenberg, making this artificial system that nobody really gets or feels!”… Except there are a few people like Julie:

When I was 7 or 8, I found a miniature violin in my father’s closet, because he played violin when he was a kid. I also found a book called A Tune a Day, and I taught myself from the book to play a little violin, so it was clear that I was musical. But I ended up playing the tuba, but it was never really my instrument. It was really weird, loving music and being accomplished at it, but not playing an instrument that was mine. I ended up very depressed and confused, and when I was 18, after a year of college, I hitchhiked to Montreal with a friend. I was alone a lot, and one time when I was walking alone on a huge hill in the back of McGill University, I had this thought that at the time felt like it was coming from outside of me, that said I should compose. I took that and I said, “OK, that’s it.” It was my lifeline. After that, I went to Berklee College of Music in Boston, and then I finally got to Manhattan School of Music. […] But musically, Schoenberg is my big influence – his music and also his writings. Schoenberg’s also a person who’s very much concerned with integrity. It’s an inner journey when you compose, so you write the music that you feel is right, which means there’s kind of this morality to it, in a sense. You search for yourself, for what’s honest, and what’s truthful, and that’s what you write in music. Schoenberg’s such a key person for that, as well as Beethoven. Mahler’s great, too.

Maybe Julie’s music is “old school”; but if it is, I can happily go back there to study a little. It’s never a question of style so much as the voice, and Julie’s is a wonderfully distinct voice. At her site linked above, you can hear a number of her pieces; I’d particularly recommend the Trio for flute, cello and piano, and hoc est corpus meum for solo violin.

Samuel Vriezen (b. 1973 — Netherlands)

Samuel VriezenSamuel posts around these parts, though infrequently enough that I feel OK about plugging him here. We’ve been bumping into each other for years on the USENET classical newsgroups, a happy breeze of true contemporary thinking amid all the John Williams wannabees and folk who haven’t gotten past Holst or even Yanni. From the rather complicated and involved pieces of his time in University, he’s been progressively paring back both his scores and materials; still finding the complicated and involved, but arising out of seemingly simple and clear actions and reactions. He’s also great Euro-advocate of our own expat composer, Tom Johnson, who pioneered many of these same concerns. Samuel also performs, and has helped produce a number of great exploratory concerts in Amsterdam over the years. His site linked above has plenty of listening, both to his own work and others equally interesting (Johnson included). If you’re ever headed to Amsterdam, he’s your hook-up, go-to guy.