Sequenza21

It’s been three years since the human and moral disaster that was Hurricane Katrina overran New Orleans and uncovered an ugly blight on America’s soul.   To help make sure that nobody forgets, New Amsterdam Records will release a digital version of Ted Hearne’s powerful work Katrina Ballads on August 29.

“It is my hope that setting primary-source texts from the devastating week in 2005 when Katrina hit will help us keep this time active in our memory, challenging us to cut through the spin that followed, and bringing us closer to an understanding of the true aftermath,” Hearne says.  “New Orleans has long been a musical epicenter and a real crossroads of culture. The musical influences present in Katrina Ballads are plentiful and diverse. In that sense, this work is a tribute to the life of music, and its ability to shape and inspire us.”

The piece has 11 instrumentalists and 5 singers and it’s an homage to New Orleans rooted deeply in American music, as is evident in the variety of musical styles of the singers featured in the recording. Some of the instrumental performers are staples in the NYC classical music scene while others are from Charleston, South Carolina and are predominantly jazz players. The singers are a mix of contemporary classical, gospel, R&B, and musical theater performers. You will hear influences of gospel, jazz and spirituals into the sound of the music, along with an operatic feel at times.

Thanks to Ted Hearne, here are a couple of  songs from Katrina Ballads:

anderson-cooper-and-mary-landrieu

brownie-youre-doing-a-heck-of-a-job

Among the focuses of the Proms this summer are the centennials of Elliott Carter and Olivier Messiaen and the eightieth birthday of Karlheinz Stockhausen (due to his death in 2007, the celebration of his birthday was fused with a commemoration of his life’s work). Although the first night concert included the first performance of a Proms commission from Carter, the piano piece Caténaires, he is only represented by three other works, the Oboe Concerto, Night Fantasies, and Soundings, as opposed to eighteen works of Messiaen, several of them, including the opera St. Francis of Assisi, to be played on September 7, major works of considerable length. The Stockhausen celebration included a Stockhausen day on August 2, which included performances of Gruppen and Stimmung, among other pieces, as well as a performance of Punkte on August 22, which was his actual birthday.

Carter’s Soundings, which received its first UK performance on August 18 on a concert by the BBC Scottish Symphony Orchestra, was written in 2005 as a present for Daniel Barenboim when he left the post of music director of the Chicago Symphony Orchestra. Since Carter’s intention was to celebrate Barenboim as a musician who regularly directs performances of Mozart piano concertos in which he is also the soloist, he cast the work for piano and orchestra intending that the piano soloist would also be the conductor. It goes without saying that the rhythmic and ensemble difficulty of Carter’s music is greater that that of Mozart’s, making the realization of the idea of a conductor playing along with the orchestra a challenge. Although there are certainly ways that could have been devised to deal with this problem, Carter chose to side step it altogether by, basically, never having the piano and orchestra play together. The piece begins with a piano solo, there is a short interjection by the orchestra, the piano plays a little bit again, then there’s a long stretch of orchestra music; there is a very brief exchange of single notes on the piano (the notes, D and Bb, being, of course, Barenboim’s initials–in fact, D is also the first note of the piece, and Bb the last), and then the piece ends with a piano solo. In a performance where the soloist and the conductor were the same, the skimpiness of the interaction might not be so noticeable, but in this performance where the piano, moved off to the side of the orchestra, was played by Nicholas Hodges and the conductor was Illan Volkov, it was not only noticeable, but a little strange and unsatisfying. I have to admit that I found myself wondering if Carter charges by the minute for his commissions, and how much he got paid for this one.

Although Carter’s program notes didn’t explain the title, I assume that it probably refers to the practice of using sounds and echos to measure underwater distances. In this case bursts of fast notes, usually in the winds, are answered by sustained notes, usually in the strings, outlining the boundaries of the registers used. Carter is a master, and in Soundings, as in all his other music, both the instrumental lines, which are always wrought in a masterly fashion, and the unfolding of the music through time, are always skillful and elegant. There’s no question of it being anything other than first rate music. However, it is clear that the piece is, to say the least, not one of Carter’s most important or profound works. Virgil Thomson’s comment on the Beethoven Irish folk song arrangements seemed applicable here: it’s like getting a letter from somebody who can really write, about nothing in particular. (more…)

The BBC marked the beginning day of the Beijing Olympics by offering the first performance of Olympic Fire, commissioned for the occasion from Chen Yi. All of Chen’s music uses Western modernist practices to evoke her native culture, but Olympic Fire deals even more directly in Chinese materials, using folksongs both from the predominant Han Chinese and from minority Chinese ethnic groups as well (Chen keeps to the Chinese government party line by considering Tibetans among those Chinese ethnic minorities), and imitating the sounds of Chinese instruments, particularly the lusheng (described by Chen as a “mouth pipe-organ”).  Olympic Fire begins with enormous energy and unrelenting febrile motion and considerable instrumental brilliance featuring the brass and the xylophone.  The initial ebullient activity continues for quite a while, to be interrupted by a slightly slower high ostinato music with a less thick texture, evoking bird calls and still featuring the xylophone, which turns out to be an accompaniment to longer lyrical tunes in the lower registers.

The opening celebratory activity is eventually regained, with the layering of different musics over a repeated rhythmic figures. The music goes driving headlong into a furiously explosive timpani cadenza which leads to a roaring ending.  The performance, by The Royal Philharmonic Orchestra, conducted by Leonard Slatkin, matched the exuberance of the music. (more…)

Here’s a big loss to the New York new music community.  George Steel, who has made Miller Theatre at Columbia University an essential venue since taking over as executive director in 1997, is leaving Miller to become General Director of The Dallas Opera, effective October 1.   It’s a great career move, of course, but New York is going to miss his adventuresome programming which has made Miller a reliably memorable concert-going experience,  and attracted large and notably young audiences.

Steel, a 41-year-old Maryland native and graduate of Yale University, is founder and conductor of the Gotham City Orchestra and Vox Vocal Ensemble and has programmed and/or conducted music that spans more than 600 years, ranging from Tallis and Byrd, to Lotti and Bach, to Brahms and Chausson, to Stravinsky and Ives, to John Zorn and Morton Feldman.

Back in June, I wrote about how the Metropolitan Opera snatched victory from the jaws of defeat in the marketing of Satyagraha–how when classical music organizations employ the right kind of marketing (or any marketing at all) they see much better ticket sales than they are accustomed to. This year the Nashville Symphony is further reinforcing that point with their new marketing strategy for their season, which seeks especially to improve single ticket sales to younger audience members and other audiences they haven’t been effectively reaching in the past.

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