In two days, the American Modern Ensemble joins forces with Del Sol, JACK and PUBLIQuartet to tackle a dynamic program of premieres and 21st-century stalwarts involving string quartet. Members of AME will start the evening by premiering Jacob Bancks‘ String Theory, for string quartet, and return to deliver premieres of Sidney Boquiren‘s in a mirror dimly, for string quartet and harp, and Robert Paterson‘s I See You for string orchestra and “tape”. Del Sol will play Chinary Ung‘s Sprial X “In Memoriam”, which violinist Charleton Lee describes as, “a powerful cry for the common people suffering continuing atrocities throughout the
Read moreNext to the early and unlikely appearance of Mr. Eliot’s cruelest camellias, the most anticipated January event for many of us wintering in the Low Country is the arrival (in the other mailbox out by the street) of the annual printed Spoleto USA program. For those of you who may not know much about it, Spoleto USA is one of the world’s major arts festivals–bigger and better, for example, than the annual summer Lincoln Center Festival, whose programming is similar. It is safe to say that Spoleto USA has been a key factor in making Charleston, SC–also blessed with great winter weather, gloriously inventive southern cooking,
Read moreECM’s New Series has been producing classical releases of highest caliber since 1984. As the German imprint quietly celebrates its 30th anniversary, these words attempt an affectionate survey of its output. Then again, how does one delineate a history of that which is so much a part of it? Jean-Luc Godard addresses this very question in his Histoire(s) du cinéma, of which the soundtrack saw a New Series release in 1999 and from which this essay borrows its title. The parenthetical “s” of Godard’s masterwork serves not merely to hinge the singular and the anural, but to unravel the multiple,
Read moreHey Composers! It’s that time of year again, when the ever-intrepid Marvin Rosen climbs into to the saddle for a LONG trip through today’s music; 25 hours of music by composers like — well, like YOU! But if you want to jump on the wagon, you need to get Marvin a recording by December 15th, so pick your tushies up and move! ……….. the 10th Live Marathon (9th devoted to 21st century music) curated and hosted by Marvin Rosen, host of the award-winning program Classical Discoveries, and presented on WPRB, Princeton NJ at 103.3 FM or on line at: www.wprb.com
Read moreThe gulf between pop music and “serious” or “new music” can be a big one, and the first concert of the San Francisco Contemporary Music Players 2014-15 season TenFourteen set this in high relief. Put another way, the pleasure principle tends to be the guiding light in pop music which isn’t always the case with new music which often tries to be dark or “profound”, or as my late friend Virgil Thomson once observed ” composers look at the history of music as leading up to them,” so it may as well be “heavy.” George Crumb is an obviously gifted
Read moreJust a little “heads-up” — This coming Tuesday, November 25, The Center for Architecture and The Institute for Performance Sculpture will be presenting an inter-disciplinary program that looks interesting. Architect/composer Chrtistopher Janney and bassist/producer Bill Laswell will join forces with Sara Rudner (choreographer), Sunny Hitt (dancer), and an assortment of acclaimed musicians including vocalists, percussionists, and a turntable artist. The performance, entitled Exploring the Hidden Music, will endeavour to “make architecture more physical, and to make music more physical.” The details are attached below. Seems intriguing, especially for those who are interested in the crossing and mixing of artistic media.
Read moreOn Tuesday November 11, 2014 Piano Spheres presented a concert by Richard Valitutto entitled NAKHT. The venue was the RedCat performing arts space at Disney Hall in downtown Los Angeles, and the 275 available seats were mostly filled to hear an evening of solo piano nocturnes. This was the first major recital by Richard Valitutto, who is a member of several leading new music ensembles that appear regularly throughout the city. The concert opened, appropriately enough, with Nocturnes (1929 – 38) by Francis Poulenc. Five nocturnes were played from this piece and the first of these, No 1 in C
Read moreOn October 11, the Oneonta Concert Association of central New York presented an unforgettable concert by Musicians from Marlboro. For half a century, Vermont’s Marlboro Music School and festival have spawned top-flight, ad-hoc ensembles pairing rising stars in classical music with established names in the field. The fact that the name of Kim Kashkashian, one of the world’s finest violists and a tireless champion of contemporary music, was mentioned nowhere in the touring group’s modest marketing package indicated the level of Marlboro’s commitment to apprenticeship. Indeed, despite her unmistakable tone and timbre, Kashkashian contributed humbly to an atmosphere of total
Read moreThe Brand Library in Glendale was the site for an evening of piano music by Steve Moshier on Saturday, October 25. Cynthia Law performed three Moshier pieces, including the premiere of Into the Safety of the Abyss (2014). The concert opened with Unchained Melody: Eight Bagatelles for Piano (1999) and the first of these began with a series of strong, decisive chords that invoked an important, stately feel The opening passages were repeated in the higher registers, slightly subdued, before returning to the powerful lower chords. The second bagatelle was softer but along the same lines, as if a development
Read moreThe friendly confines of Boston Court in Pasadena was the venue for a concert by Los Angeles-based gnarwhallaby on Saturday, October 4, 2014. The quartet appeared complete with their trademark rock-solid playing and black jumpsuits for the performance of six pieces by European and American composers of new music. The concert opened with Euphorium (1995-96) by the Czech composer Martin Smolka. This featured Matt Barbier on euphonium and Brian Walsh on baritone saxophone. Combined with the piano and cello this produced a wonderfully robust bass line and a big sound that bounced and jumped playfully about. The rhythms were fast,
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