…Though it never really closed… Started around 1998 in upstate New York by a small group of musicians including Benjamin Boretz, Mary Lee Roberts and Arthur Margolin, The Open Space was conceived as print and online magazine venture and CD publisher dealing with contemporary music as “…output from a community for people who need to explore or expand the limits of their expressive worlds, to extend or dissolve the boundaries among their expressive-language practices, to experiment with the forms or subjects of thinking or making or performing in the context of creative phenomena. We want to create a hospitable space for
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Chamber Music, Classical Music, Composers, Concerts, Contemporary Classical, Film Music, Houston, Music Events
[vimeo http://vimeo.com/12767232] (Visual Abstract, First Movement, Music by Pierre Jalbert, Film by Jean Detheux) On January 8th, 2011, at 7:30 p.m. in Zilkha Hall of The Hobby Center for the Performing Arts, the Houston TX new music group Musiqa presents Real and Imagined – a concert collaboration with Aurora Picture Show featuring Theo Loevendie’s Six Turkish Folk Songs as well as music by Eve Beglarian, Paul Frehner, and Evan Chambers. Houston-based composer Pierre Jalbert’s Visual Abstract for flute, clarinet, violin, cello, piano, and percussion will be performed live to a film created by Jean Detheux. The concert will be conducted
Read moreGetting ready to enjoy all those new, happy/shiny Xmas presents, I’m sure… Well, here’s another that won’t cost you a dime: S21’s WPRB-favorite-son, announcer Marvin Rosen, is getting a jump on the upcoming Alan Hovhaness centennial with a 24-hour marathon broadcast of Hovhaness’s music (that’s Marvin above, in 1992, with Hovhaness at the composer’s home). “Mountains and Rivers Without End” begins Sunday, Dec. 26th at 7pm, and will feature more Hovhaness than you can shake a stick at (I know more than a few composers who might well be furiously shaking that stick, but I myself am pretty partial to this American original). Two
Read moreSince 1984, the SEM Ensemble, directed by Petr Kotik, has given annual Christmas concerts. But these are not your usual holiday fare! The programs mix works from the New York School, other pieces in the avant-garde/experimental tradition, and early music. On Tuesday evening December 21 at the Paula Cooper Gallery in Chelsea, SEM will present J. S. Bach’s Fugue in 6 Voices from A Musical Offering (1747), Kotik’s 1st String Quartet (2007-’10), Why Patterns? (1978) by Morton Feldman, and two works by Christian Wolff: Small Preludes (2009-’10) and, incredibly, the American premiere of a work dating from 1958: For Six or Seven Players (for
Read moreHidden within the typical drive-to-cadence activities that closed the 2010 Fall semester here at the University of Michigan were three special performances showcasing the creativity and boldness of student composers David Biedenbender, Roger Zare and William Zuckerman. The premieres of their works – Three Rilke Poems, Janus, and By the way: Music in Pluralism, respectively – demonstrated the profits of well executed collaborations with all of the following: a third-party ensemble, a soloist, and other forms of media. I am proud to report the largely unqualified success of these endeavors and suspect these works are part of a more general
Read moreElliott Carter turns 102 today! He was at Miller Theatre this past Monday night at the all Pierre Boulez concert put on by the Talea Ensemble. This was the last of many concerts celebrating Boulez’s 85th birthday (which occurred back in March). The group played the US premiere of the latest version of Dérive 2: a work composed in 1988 to celebrate Carter’s 80th birthday. 22 years later, Boulez, now 85 himself, has expanded the piece to well over double its original length! As Raymond Bisha wrote on the Naxos Blog, Elliott Carter is planning to spend his 102nd birthday
Read moreWe’re pleased to announce that Hayes Biggs has agreed to be our third jury member for the Sequenza 21/MNMP Call for Scores. Hayes is currently a faculty member at the Manhattan School of Music. A composer, vocalist, writer, copyist, and former Associate Editor at Peters, he brings a wealth of experience to our judges’ table. We’re thrilled he’ll be a part of planning the program.
Read moreThe University of Michigan’s final student composers’ concert of 2010 took place this last Monday, November 29, in Stamps Auditorium, part of the University’s Walgreen Drama Center. This collection of performances was unexpected; so many composers submitted material for November 15’s composers’ concert, a brief third concert of the term was necessary. Whereas the concert earlier this month was unique with its multiple composer-performers, Monday’s event possessed a more subtle distinction: a strong stylistic dichotomy emerged among the works, essentially pitting modernist and traditional forces in opposition to each other. From a qualitative standpoint, I found this duality inconsequential because
Read moreWe’re saddened to hear the news of Ann Southam’s death this past Thursday after a long battle with cancer. Southam was one of Canada’s foremost composers, an influential teacher at the Royal Conservatory, and longtime arts advocate, active in several groups which fostered contemporary music. She received numerous honors during her distinguished career. Earlier this year, she was named a member of the Order of Canada. Southam’s oeuvre encompassed several compositional styles and genres: twelve-tone music, lyrical Neoromanticism, electroacoustic music, and postminimalism. I particularly admire her writing for the piano and have included two videos of contrasting works for piano
Read moreShh! We’re improvising! The Lepers of Melancholy, Houston TX (photo by Jonathan Jindra) While reading Conversing With Cage at a bus stop today, I stumbled across this funny yet in the end profound exchange (circa 1980) between John Cage and John Robert with Silvey Panet Raymond: How do you consider new popular music – punk, New Wave? What is the New Wave? I don’t really know what it is. If you could point it out to me, I might have some reaction. It’s very simple, three – , four-chord stuff, aggressive, fast. There’s a good deal of dancing on the
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