Contemporary Classical

CDs, Chamber Music, Composers, Contemporary Classical, Electro-Acoustic, Experimental Music, File Under?, Music Instruments, New York, Performers, Recordings

Various Artists: the language of

Various Artists – the language of

QUIET DESIGN RECORDS


the language of is a compilation CD of ten pieces by eight emerging composers in NYC, many of whom are associated with the Wet Ink Ensemble.  Released by Quiet Design Records in Austin, TX, this compilation is a forward-thinking treatise on a constantly evolving new music scene.  The production, recording, and design chores were undertaken by the composers and their colleagues, thus comprising a very personalized aesthetic. the language of is an essential purchase, not only for its DIY approach, but because it contains a variety of exciting, well executed compositions.  And due to the wobbly legs of the music industry, resourceful composers could do well by using this CD as a business model.

There is an immediacy and yearning to the music featured on this CD.  The emotional content (which, of course, varies from piece to piece) is enhanced by the recording techniques used to create the myriad sound-worlds, an approach that is both startling and engaging.  There is not one ounce of sonic sterility that one might find on pristinely recorded chamber music CDs.  Many of the recording techniques used are in-your-face, close mic’d, compressed, and manipulated to each pieces’ ambient requirements.  Some of the pieces that most represent traditional chamber music are ambient mic’d, a representation that provides a bird’s-ear-view (sorry about that one) for the listener, or an aural realism, if you will.   The variety of production from piece to piece is therefore more akin to the world of rock, jazz, and experimental music.  The packaging, designed by composer Clara Latham, is an attractive and environmentally friendly cardboard cover that features nothing in the form of liner notes (this may be one of my only complaints, but it definitely adds a veil of mystery to the release).

A brief overview of each piece follows after the break: (more…)

by Jeremy Podgursky
CDs, Chamber Music, Classical Music, Composers, Contemporary Classical, Festivals, File Under?, Los Angeles, New York, Orchestras

Tonight at BAM: US Premiere of work by Enrico Chapela at Brooklyn’s Nuevo Latino Festival

Saturday night at 8 pm, the Brooklyn Philharmonic, under the direction of Michael Christie, gives the US premiere of Enrico Chapela’s Noctámbulos, a piece for rock trio and orchestra. Chapela will also participate in a panel discussion on Latin American Identity in Music at 4:30 (details below).

Chapela is a composer on the rise; Boosey and Hawkes added him to their roster in 2008 and he’s recently received several high profile commissions. I spoke with him on Thursday about the BAM event and his other activities. Born in Mexico, he started out his musical career as a rock guitarist, playing SXSW with a band in the nineties. He currently resides in Paris, where he’s finished a Master’s degree at the University of Paris and is pursuing a Ph.D. His dissertation topic is the two-hundred year history of symphonic music in Mexico.

An earlier version of Noctámbulos, titled Lo Nato es Neta, can be heard on Chapela’s debut CD, Antagonica. Lo Nato es Neta is scored for rock trio and acoustic quintet. Chapela readily acknowledges the cross-pollination present in the work, “It explores a wide range of rock styles – everything from metal to Pink Floyd to King Crimson.” I hear a fair bit of Frank Zappa and the Mothers of Invention in its juxtaposition of rock solos with angular melodic fragments, spiky post-tonal verticals, and Stravinskyian ostinati.

The piece was entered in a composition competition, but didn’t place. Happily, one of the judges dissented from the majority and separately arranged a commission for the Dresden Sinfoniker. The result: Noctámbulos, a revisioning of Lo Nato es Neta that features the rock trio as concerto soloists. It also incorporates more improvisation.

This is an exciting time for Chapela. He’s playing the guitar part in the premiere. Simultaneously, he’s working hard to finish a commission for the LA Philharmonic. “At first, I thought it would be too much to be the solo guitarist at the Brooklyn Philharmonic performances while trying to finish the piece for LA. But then I realized, who could ask for a better gig than this? Between practicing and writing, I told my wife to not expect to see me much for a couple of months!”

CROSSING BORDERS: A discussion on Latin American identity in music

Saturday, January 31, 2009 / BAM Hillman Attic Studio, at 4:00PM

Moderated by Carmen Helena Téllez / Invited panelists: Gabriela Lena Frank, Enrico Chapela, and Paul Desenne

NUEVO LATINO MAINSTAGE – Saturday January 31, 2009 at 8:00 PM

BAM Howard Gilman Opera House

Michael Christie, conductor; Virginie Robilliard, violin; Chapela Trio; Enrico Chapela, guitar; Jesús Lara, bass; Luis Miguel Costero, drums

Gabriela Lena Frank: Leyendas: An Andean Walkabout (NY Premiere of string orchestra version)

Paul Desenne: The Two Seasons (NY Premiere)

Enrico Chapela: Noctámbulos (US Premiere)

by Christian Carey
Contemporary Classical

That’s Why They Call It Muse-ic

From Sarah Baird:

Aurora Natola-Ginastera, internationally renowned cello virtuoso and wife of the late composer, Alberto Ginastera (1916-1983), passed away on Sunday, January 25, in Geneva. She was 85 years old.  (Alberto wrote his second Cello Concerto for her, at least. What would our repertoire look like if not for composers in love?! ) The funeral information follows. All best. ~ Sarah

Ceremony, followed by burial:
Tuesday, Feb 3, 10 a.m. / Eglise St-Joseph / Rue Petit-Senn / 1207 Geneva

Burial:
Cimetière de Plainpalais / Rue des Rois 10 / 1204 Geneva

JB Note: Valentine’s Day is not that far away.  Good time to discuss great music inspired by love.

by Jerry Bowles
Chamber Music, Composers, Concerts, Contemporary Classical, File Under?

Be There or Be Ionian!

Locrian Chamber Players

Have you heard the Locrian Chamber Players yet? If not, you’re missing out. The group has a unique mandate: they only play pieces less than a decade old. This results in stimulating, varied, and stylistically catholic programs.

With members that include some of New York’s finest performers of contemporary music – pianist Emily Wong, flutist Diva Goodfriend-Koven, and violinist Calvin Wiersma among them – the music is exquisitely well-prepared. Admission: FREE.

Locrian’s next show is this weekend, Saturday, January 31 at 8 PM, 10th Floor Performance Space, Riverside Church, and features these works:

Milton Babbitt: Little Goes a Long Way

Earle Brown: Special Events

Nils Vigeland: Aurochs and Angels

David Dzubay:  Kukulkan

To reach Riverside Church by subway, take the 1 or 9 train to 116th street. By bus, take the M4 or M104 to Broadway and 120th Street. Enter Riverside Church at 91 Claremont Avenue (one block west of Broadway, between 120th and 122nd streets). Parking is available at the Riverside Church garage, located at 120th Street and Riverside Drive.

by Christian Carey
Cello, Chamber Music, Click Picks, Contemporary Classical, Video

Dakujem!

[youtube]http://www.youtube.com/watch?v=SqwsCoO1zxQ[/youtube]

After the split, there’s been plenty of attention paid to Prague and the Czech Republic; far fewer take notice of Slovakia and its capital, Bratislava. Strange, when you consider that the city is less than 40 miles from Vienna. That should tip you off that there just might be some serious music-making happening in Bratislava, and thanks to a young web-savvy musician we can confirm it with our eyes and ears.

Andrej Gál is a cellist in Bratislava, member of the Slovak Chamber Orchestra, Zwiebel String Quartet, Veni Ensemble, Melos-Ethos Ensemble, Ostravská banda and newly established Quasars ensemble (whew!). Luckily for us, he’s also a happy YouTube user. Gál has made available a number of performance videos that happen to include him as a member, and the collection features a unusually choice selection of contemporary composers and stellar performances: Bartók, Grisey, Murail, Lachenmann… and this great piece by a Slovak composer I’d never heard before, Vladimír Godár (b. 1956 / The embedded video is part one; you’ll find part two at the link above to the whole collection). Bravo Andrej — not only for your fine playing, but for taking the simple step of using the web to bring us the news half a world away.

by Steve Layton
Composers, Contemporary Classical, Deaths, Obits

A Composer’s Composer

George Perle died this weekend, at the ripe old age of 93. Little-known and little heard by the general audience, Perle was a name virtually every composer of the last half century knows. His book Serial Composition and Atonality passed through most of our hands at one point or other in our study; it and his later Twelve-Tone Tonality caused a lot of us to seek out performances and recordings of his poised, extremely lucid and limpid works.

Big-name appreciation is rare enough anymore for composers, as to almost seem a fluke. Given that, the place to pay attention to is who composers themselves appreciate. George Perle certainly had that kind of “cred”, and he’s still alive and vital for his comrades-in-music.

by Steve Layton
Contemporary Classical

Looking forward to the 2009/2010 season of the LA Phil

The new season of the Phil was announced Thursday afternoon, accompanied by a press conference (with internet simulcast) by Dudamel and Deborah Borda, president of the board. This announcement was earlier than usual in order to fit into Gustavo’s schedule. I’m sure it’s just a coincidence that the Phil is using this opportunity to encourage people to submit their re-subscriptions early. Here’s the the index to the set of press releases. The Phil is welcoming Dudamel with a Bienvenido Gustavo” celebration — free — at the Hollywood Bowl and a performance of the Beethoven Ninth by the orchestra with the Master Chorale. Yes, free. Every ticket.

I think there are three major messages from this set of schedules. First, the Phil is not weakening its focus on contemporary classical music. There are very few Phil programs with music without at least a significant work from the twentieth century if not a contemporary work. There will be two significant festivals: West Coast: Left Coast in November; and Americas and Americans in April. There will be nine Philharmonic commissions this season: two works by Adams (one for solo piano to be performed by Ax), Newman, Lieberson (a new work for cello and piano, performed by Ma and Ax), Chin, Golijov, Bermel, Benzecry, and Hartke (a symphony with organ). Terry Riley will return on the WDCH organ. Thomas Ades will return. We will hear the American premiere of Louis Andriessen’s La Commedia, conducted by de Leeuw in his return to Disney. We will have an evening of Eotvos. We will have Dawn Upshaw

Second, John Adams will be joining the Philharmonic in the new position of Creative Chair, as well as filling Philharmonic commissions for two new works. Adams was a key factor in making the Minimalist Jukebox so successful and so satisfying, and his contributions to the two new festivals will be welcome. I’ll get the full set of tickets, if at all possible. I wouldn’t even wait to see the program details.

Third, we may indeed be seeing the start of a Dudamel infusion of music from the Americas, both Anglophone America as well as Latin America. Hearing both the Golijov Mass and the Estevez Cantata, in the same season, is noteworthy.

Esa-Pekka Salonen will not conduct next season, on his own decision. He has been exemplary in providing a smooth transition to the new music director. In the 2010/2011 season he will begin a multi-year series of conducting assignments.

by JerryZ
Contemporary Classical

The Horror. The Horror.

So Yo-Yo, Itzhak and gang were string synching and what we heard on TV was Memorex.  Misleading? Unethical? Biggest scandal since we found out that those adorable little Chinese kids were lip synching the opening ceremony of the Olympics?  Or, no biggie.  Give the nice folks a break, nobody could actually play under those frigid conditions.

[youtube]http://www.youtube.com/watch?v=uDUTM3NViHc[/youtube]

by Jerry Bowles
Composers, Concerts, Contemporary Classical, Orchestral

Five Things about Absolute Ocean

I heard the world premiere of Absolute Ocean by Augusta Read Thomas in Houston Thursday night at Jones Hall.
1. Thomas spoke before the concert about her compositional process and specifically about Absolute Ocean. Her talk was engaging, direct and charming; Thomas included showing the audience some of the manuscript score, and explained how 15 seconds of music might take five hours to score by hand!
ART talking before the concert
2. Absolute Ocean is a work for Soprano, Harp and Orchestra in three movements from poetry by ee cummings commissioned by the Houston Symphony. The soloists, soprano Twyla Robinson and harpist Paula Page, performed with conviction and panache – putting the music first without extraneous movement or distractions. The texts were projected (not always coordinated, but hey, they were there!) on each side of the stage and added to the performance.
3. The opening “Graceful” movement was pointilistic and bright. Robinson pulled pitches from nowhere and was matched beautifully by Thomas’ instrumental colors and combinations. Page was often backed by four percussionists and divisi solo strings.
4. Perhaps the most charming of all was the second movement, “Playful, spry and jazzy.” Hans Graf was direct and precise with the orchestra, making it easy for the musicians to move in and out of the lines deftly. Again Robinson caught the feeling perfectly of cummings text and Thomas’ frolicsome and vivacious score. Page was purely color for the most part, but had a chance to shine with a cadenza between this movement and the finale. Evidently this cadenza was added later at Page’s request – which certainly went more to weigh the harp part…I would not call Absolute Ocean a double concerto, but rather an orchestral work for soprano with a prominent harp part. I had heard it referred to as a concerto – and would be disappointed as such – luckily it is such a wonderful work, the nomenclature is not important.
5. “Resonant and elegant” finished the 18 minute work and the short first half (the second half was Mahler’s Fourth Symphony) of the concert. The finale paints the words with creative combinations, and has a satisfying and direct ending. Absolute Ocean is a complete success for the Houston Symphony, and kudos to Graf for adding such a gorgeous work to the symphonic world.
There are two more performances of Absolute Ocean, Saturday night at 8pm and Sunday afternoon at 2:30pm. There is another pre-concert talk Saturday at 7:10pm open to all ticket holders. The 2009-10 season has just been announced for the HSO, and includes another Houston Symphony Commission, for chorus and orchestra by Kevin Puts.

by John Clare