Contemporary Classical

And the Winners Are…

Best Classical Contemporary Composition 

Mr. Tambourine Man: Seven Poems Of Bob Dylan

John Corigliano (JoAnn Falletta)
Track from: Corigliano: Mr. Tambourine Man: Seven Poems Of Bob Dylan
[Naxos] 

Best Classical Album 

Weill: Rise And Fall Of The City Of Mahagonny

James Conlon, conductor; Anthony Dean Griffey, Patti LuPone & Audra McDonald; Fred Vogler, producer (Donnie Ray Albert, John Easterlin, Steven Humes, Mel Ulrich & Robert Wörle; Los Angeles Opera Chorus; Los Angeles Opera Orchestra)
[EuroArts] 

Best Orchestral Performance 

Shostakovich: Symphony No. 4

Bernard Haitink, conductor (Chicago Symphony Orchestra)
[CSO Resound] 

Best Opera Recording 

Weill: Rise And Fall Of The City Of Mahagonny

James Conlon, conductor; Anthony Dean Griffey, Patti LuPone & Audra McDonald; Fred Vogler, producer (Donnie Ray Albert, John Easterlin, Steven Humes, Mel Ulrich & Robert Wörle; Los Angeles Opera Orchestra; Los Angeles Opera Chorus)
[EuroArts] 

Best Choral Performance 

Symphony Of Psalms
Sir Simon Rattle, conductor; Simon Halsey, chorus master (Berliner Philharmoniker; Rundfunkchor Berlin)
Track from: Stravinsky: Symphonies
[EMI Classics]  

Best Instrumental Soloist(s) Performance (with Orchestra) 

Schoenberg/Sibelius: Violin Concertos
Esa-Pekka Salonen, conductor; Hilary Hahn (Swedish Radio Symphony Orchestra)
[Deutsche Grammophon]  

Best Instrumental Soloist Performance (without Orchestra) 

Piano Music Of Salonen, Stucky, And Lutoslawski

Gloria Cheng
[Telarc]  

Best Chamber Music Performance 

Carter, Elliott: String Quartets Nos. 1 And 5
Pacifica Quartet
[Naxos]  

by Jerry Bowles
Contemporary Classical

A Preview of “Keys to the Future: SPOTLIGHT on Four Hand Piano” – Monday, February 9 at Mannes

Keys to the Future is presenting an evening of contemporary four hand piano works this coming Monday, February 9 at 8PM, at a free concert at Mannes College’s Concert Hall. As the date approaches, I thought I’d write a few words about a couple of the pieces on this concert, both of which will be premieres:

The first is a piano duet version of Arvo Pärt’s 1976 organ piece Pari Intervallo. Manon Hutton-DeWys and Evi Jundt will give the this version of Pari Intervallo its U.S. premiere. I heard them rehearse it earlier in the week, and it’s similar to his other works of that period in its use of the style known as “Tintinnabulum”, first introduced in Pärt’s Für Alina (1976) and Spiegel Im Spiegel (1978). Pari Intervallo definitely casts a spell, and I would be surprised if this doesn’t become a very popular work for piano duos.

Here are a few comments from composer Bruce Stark about his Four, which will be played by virtuosos Karén Hakobian and Gabriel Escudero:

Four is a set of variations based on two themes: one is quick and syncopated, the other broadly lyrical. The title refers to a predominant structural motif of  the piece: four variations, four hands, 4/4 time, and the lyrical theme is (mostly) comprised of four phrases of four notes moving up (or down) a scale. Every variation uses both themes, providing contrast and imparting a sonata-like quality to some of the music. There is no definitive presentation of the material; each variation offers a version, like viewing the same object through four different lenses.

Bruce will be unable to make the concert, as he lives in Tokyo, but through the magic of the internet he has been guiding the pianists on their interpretation of this robust piece.

I’ll try and post here again tomorrow about a couple of the other pieces on the program, which are Andrew List’s Mystical Journey (2005), William Bolcom’s Recuerdos No. 1 (1985), Doug Opel’s Dilukkenjon (2002), and Steve Reich’s seminal Piano Phase (1967), which will be performed by the awesomely talented Keys regulars Blair McMillen snd Stephen Gosling.

“Keys to the Future: SPOTLIGHT on Four Hand Piano” will take place Monday, February 9 at 8PM at Mannes College’s Concert Hall in New York. Admission is free. For complete information about this concert and about our upcoming “SPOTLIGHT on Minimalism” concert (April 5) and our annual 3-day Festival of contemporary solo piano music (May 19-21), please check out our newly updated website:

http://www.keystothefuture.org/

Thanks for reading, and I hope to see you there.

Joseph Rubenstein, Artistic Director, Keys to the Future

by Joseph Rubenstein
Awards, Contemporary Classical, Grammy, Performers

Grammys, Schoenberg, Higdon with Hahn

Hilary Hahn
Hahn. Hilary Hahn. The violin superstar is about to premiere a new work by Jennifer Higdon tomorrow (Friday) night, attend the Grammy Awards this Sunday with two chances to win for Best Classical Album and Best Instrumental Performance with Orchestra, and then go on a recital tour playing Ives and Ysaye. She took out a few minutes to talk about the new piece and about the Grammys.
Part 1 (having a piece tailor made for her)
Part 2 (attending the Grammy Awards)
She has also just updated her YouTube Channel with Schoenberg’s grandson Randy:
[youtube]http://www.youtube.com/watch?v=gjW4aDQa0Vg[/youtube]
She mentioned that she’ll interview Higdon on her website, will perform at the Grammy Awards preshow and can be seen online, and if you haven’t seen it, her violin case twitters!

by John Clare
Contemporary Classical

Downbeat Ready?

Photo by JacobEnos, via Flickr. Some Rights Reserved through Creative Commons license.If you’ve been following the stimulus bill, you probably know two things: It includes $50 million for the NEA, and on Tuesday the Senate Democrats announced that they don’t have the votes to pass it and they’re looking a ways to cut it down.  John Gizzi at the conservative publication Human Events reported tuesday that, in a press conference on Monday, Press Secretary Robert Gibbs indicated that cutting the NEA funding was not likely.  I’m not sure about Gizzi’s interpretation of Gibbs’s statements, but as they say: interesting if true.

Also on Tuesday, according to the best FL sportsbooks Reviewed on Thesportsdaily, Senator Tom Coburn (R-OK) took a bold stand against rotating pastel lights when he offered an amendment which would prohibit stimulus spending in a variety of cultural areas:

“None of the amounts appropriated or otherwise made available by this Act may be used for any casino or other gambling establishment, aquarium, zoo, golf course, swimming pool, stadium, community park, museum, theater, arts center, or highway beautification project, including renovation, remodeling, construction, salaries, furniture, zero-gravity chairs, big screen televisions, beautification, rotating pastel lights, and dry heat saunas.”
– Page S1462 of the Senate Congressional Record

The big question, of course, is whether $50 Million to the NEA for economic stimulus is a good idea or not.

(more…)

by Galen H. Brown
Chamber Music, Contemporary Classical

Last Night in L.A.: Concerto without Orchestra

Vicki Ray put together an imaginative, clever program which was beautifully performed in last night’s Piano Spheres concert at Zipper Hall of Colburn School. She’s a marvel; she seems to be able to do any work in any style. In December she gave a tremendous concert, “Vic Ray Electric”, of electro-acoustic music. In January she was pianist for this Monday Evening Concert. I’ve never heard her play any Mozart, but this clip implies she just might do so some time. The theme of last night’s program was piano concertos without an orchestra; her program notes described her selections as forming a rondo with two cadenzas sandwiched between three concertos.

The program opened with Igor Stravinsky’s seldom-programmed Concerto for Two Solo Pianos (1935) which he wrote to play with his son in money-making concerts. Julie Steinberg came south from the Bay Area to provide the second pianist. The performance sparkled; many of us were smiling with pleasure as we listened. The “cadenza” following this was awhirl (2008) by Rand Steiger; Ray gave the world premiere of this piece in her December concert in REDCAT. It’s a duet for single piano, in which electronics take the piano sound and use it to extend, supplement, and challenge the pianist. It was even more enjoyable to hear the second time.

A sure way to win a bet in a “who wrote THIS?” contest would be to play Eros Piano (1989) by John Adams. It’s a work for piano with orchestral accompaniment, written as a tribute to the jazz great Bill Evans, to composer Toru Takemitsu, and to pianist Paul Crossley. There’s not a single Adams machine chugging away in this work. You’ll find the piece recorded in “American Elegies” with Adams as conductor, along with typically great Upshaw performances of five Ives songs and a delightful Feldman piece. Vicki Ray played the work as written and asked Adams if she could transcribe a few orchestral elements to enable the work to be played for solo piano, and we heard the premiere of this version of the work last night. This would have served as the high point of many another concert.

But Vicki Ray closed the program with a work by Julia Wolfe, my lips from speaking (1993). This tribute to Aretha Franklin was written to be played by six pianos in a British festival for mutiple pianos. It was then rearranged for Lisa Moore in a version for piano solo and tape. Ray’s performance was invigorating, thrilling. We could have stayed as long as she was willing to keep giving us encores, but she closed the evening with her own arrangement of “My Funny Valentine”, for toy piano. A treat.

by JerryZ
Composers, Contemporary Classical, Deaths, Experimental Music, Performers

The Next Generation to Pass

The recent deaths of both George Perle and Lukas Foss are part of the sad but expected passing, of composers who came of age in the 1940s and 50s. But a slight shock went through me with Douglas Britt’s surprising news in the Houston Chronicle blogs that pioneering composer, percussionist, visual and sound artist Max Neuhaus (b. 1939) has just died as well. Neuhaus is from the generation that gives us Lucier, Ashley, Young, Reich, Glass and Riley.

He semi-retired some time ago from pure composition and performance, preferring to focus on sound art and installations (one of which quietly hums day and night just down the street from me here in Houston, a few steps from Rothko Chapel). Neuhaus’ own website gives a good overview of where his imagination took him these past years, and you can pay homage to his earlier self — percussion iconclast and champion of the likes of Stockhausen, Brown, Feldman, Cage — by revisiting his seminal 1960s recordings courtesy of UbuWeb.

by Steve Layton
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