UBUWEB is playing online host to an excellent hour-long WDR documentary on Mauricio Kagel. Of course it’s in German, but don’t let your lack of the lingo stop you from clicking over there and watching. Scenes of Kagel rehearsing his Divertimento with the Schönberg Ensemble & Reinbert de Leeuw at the 2006 Donaueschinger Musiktage are intercut with footage of Kagel and a number of his earlier works from the 60s and 70s. There’s plenty of Kagel’s love of theater and the absurd, careful fascination with all kinds of sound and action in music, and just plain play on show in this one.
A meeting of the San Juan Island Book Club, pictured here, convened immediately upon my return from Seattle, where Alex Ross and Kyle Gann had curated a truly remarkable new music festival for the Seattle Chamber Players Icebreaker series, with SCP’s artistic director Elena
Dubinets at the helm. An inspiring line-up of emerging and emerged composers were on hand this past weekend to discuss their music, Alex and Kyle presented their books, and the concerts each evening were wonderful. You can read about the terrific event here.
It was particularly fun to meet people I had until now known solely in their enpixelated states via this and other blogs. Nothing beats live interaction; there’s an endless supply of talent and joy to be found in these gatherings.
Several bloggers have shown us photos of their cats reading our colleagues’ books, so I thought I would tell folks that felines are not the only avid fans. Here we see my two guys, Smudge and Moses, waiting impatiently on my desk for the foxes to arrive (they’re often late but bring good wine so we forgive them). The birds always hang out chattering in the cedar birdhouse until the last minute and then fly in the door, while the deer have a smoke outside my studio prior to the opening discussion. A wild time was had by all as the fur flew during a
very lengthy and entertaining conversation. Next month’s book club reading includes Christopher Dingle’s new book, “Olivier Messiaen: Music, Art and Literature,” selected by acclamation by the woodpeckers and chickadees, plus a listening session for Pink Floyd’s classic, Animals.
Last year, many of us saw a posting regarding the VIM:Tribeca concert series. The organizers, Judd Greenstein and Kimball Gallagher, wanted to put on concert series of mostly new works; the composers were responsible for providing performers. The concerts were to be put on in the Gallerie Icosahedron (I’m deliberately not linking to them, for reasons that will be apparent soon!). The first indication of trouble to us should have been the delays, imposed by the gallery, regarding scheduling and, we found out later, the renting of a piano. The first public sign of trouble was the sudden announcement that the concert series was now to be called the ICO series.
When it was announced that my work had been accepted, I was thrilled. I was to be featured alongside Pamela Stein; I contacted Kathy Supové, who was going to play my new pieces for interactive piano. And, Pam was going to sing the premiere of a piece by Lukas Ligeti. This had all the makings of an exciting event.
On Thursday, we received the following note:
1) CONCERT FEE: all concerts will be subject to a $300 minimum, payable to the gallery in half a week before the concert, with the remainder due at the show. For double-bills, each artist will be responsible for half this figure. In addition to this de facto rental fee, all money over $600 in receipts from the door will continue to be split 50/50. The fee is a guarantee against low turnout – a deposit, essentially. These checks must arrive 1 week before each concert, beginning with the February 14th show, and all checks should be mailed to Gallerie Icosahedron, 27 N Moore St., New York, NY 10013, and made out to Gallerie Icosahedron.
2) TICKET PRICE: the ticket price will now be raised to $20, with no student discounts.
3) REHEARSAL FEE: all artists will have access to the gallery from 5-6:30 on the day of the show. Any other rehearsal times need to be scheduled in advance and will be available at a $40/hr rate.
4) INTERMISSION: there will be NO intermissions of any kind. For double-bills, there will be a brief set change, but even this will be less than a standard intermission.
5) COMPS: there will be no comps, except for press.
6) PIANO: the piano needs to be kept at the back of the gallery, and cannot be moved forward.
And, furthermore, Judd and Kimball were to be removed from the organization of the concerts themselves. Actually, we’d have to individually negotiate elements of the shows, if we wished to continue.
At this point, the series is in disarray. I haven’t kept track, but most of the participants have jumped ship. I’m not sure if I would have done this had these policies been in place beforehand. But, to impose these changes mid-season – mind you, the ICO had a full slate of concerts in the Fall of 2007 – is just infuriating. And, looking at their demands, the one that irks me the most is the policy against comps or student discounts. $20 is a steep fee, particularly when you’re just going to a gallery with folding chairs. $20 would get me into a lot of concert halls in many places (okay, nosebleed seats in some places), and with more comfortable chairs.
I’m aware that costs have risen tremendously in the past few months. But, assuming their gallery would have been open those nights anyway, would the ICO series really have been displacing $300 worth of business? $900, if you count the door costs.
What’s truly disturbing is the Kremlin-style overthrow of the originators of the series. Here you have two people who have done all the work, put a huge amount of time, energy, and, I assume, their own money into this project. It seems to me that the ICO people just want the series to go away, which it seem like it will.
First of all, here is my advice. If anyone is still planning on putting on one of the ICO concerts, please go support them. Go to the gallery, and have a good time. Don’t buy any refreshments if the gallery sells them. As a matter of fact, avoid direct eye contact with any gallery employee. However, if you see any art there you like, write down the name of the artist, and contact them directly when you go home. If you like, wait until their show at the ICO is done. Buy something else from them, but make sure no money goes to the Gallerie Icosahedron.
At one point, I have been told, they complained about the nature of the music being presented. It wasn’t ‘classical’ or ‘conservative’ enough. I didn’t realize that we were under the scrutiny of the new music police, telling us how to write as well as demanding that we pay – oh, and that piano is just there for decoration. I’m sure that their list of demands would eventually include no parallel 5ths or un-resolved dissonances – and, I’m sure, no Max patches.
This is truly a horrible situation for all of us. I understand that concerts do need to be canceled sometimes. Performers get sick or injured, the composer isn’t finished with the piece, sometimes even accidents occur in the performance venue. Yet, this is truly, truly appalling: a concert canceled because of greed and almost maniacal control exerted by the proprietors of the concert space. I am disgusted by their actions.
This morning, someone suggested that we try to find another location. I’m all for that, although I have my doubts that we’d be able to find a decent concert site that would have availability for all the events (which were scheduled on Thursdays). If that can be done, I’d be thrilled. I’d be happy to wait until the Fall. I’d be happy to pay or raise funds for a performance at a good venue. And, I’ll be happy to avoid walking down the street anywhere near the Gallerie Icosahedron.
Sunset at Montclair by George Inness
New Jersey Arts Collective and the Montclair Art Museum are sponsoring Pictures 2008, a composition competition for high school and college students residing or studying in New Jersey.
The winning works will be performed on May 9th at the Montclair Art Museum by the Halcyon Trio (www.halcyontrio.com). The museum has also commissioned a piece from Christian Carey for the concert. A Composers Forum on April 4th at 3:20 PM at Westminster Choir College will feature readings and a masterclass with the Halcyon Trio for the competition winners.
Last year’s Pictures jury: Frank Ezra Levy, Christian Carey (standing)
Melinda Wagner, Andrew Lamy, and Brett Duebner, (seated)
All submissions must be based on Sunset at Montclair, a George Inness painting from the MAM’s collection. An image of the work, as well as competition guidelines, can be found at the following web link:
http://www.montclairartmuseum.org/education.cfm?id=93
The deadline for entries is March 21st. There will be a complimentary curator’s talk about Inness on Saturday, Feb. 9th at 1 PM at the MAM. Applicants are encouraged to attend.
Check out this video of Tom Cruise talking about Scientology, apparently leaked from the Scientology organization (they got it pulled from YouTube, but copies are kicking around the internet). The ideological content is pretty wierd, and it’s Tom Cruise, which make it interesting enough. But check out the Minimalist use of the “Mission Impossible” theme as underscoring. (more…)
Last.fm is a social-network/music site out of London, whose visitors play a huge part in creating their vast database on musicians, their recordings, their popularity, and music of related interest. Users contribute by providing hard information, photos, opinions, and even “tags” that end up linking like-to-like across the spectrum. But many also download a bit of software as well, that keeps track of what they listen to on their computer. This information is used to build a profile of a listener’s likes, and lets Last.fm steer them towards other new music they’re likely to enjoy. If you’re a musician with recordings out there in the world, chances are good there’s already a page at Last.fm with your name on it. (If that’s you on the page, you can create an artist account and “claim” it, adding pics, bio, info, even music to the page. There were three different pages on even little ol’ me! — that I discovered, corralled and am tidying up).
But the big news these past days is that Last.fm has worked out a deal with all the Big-4 music labels (EMI, Sony BMG, Universal and Warner) and numerous independents, that makes it possible to go to the site, simply type in a name, a “tag” or genre, and just start listening to complete tracks by that composer, performer or musician. You can listen by individual artist or album, or you can listen to a varied “radio” stream of music in the same genre. In the current beta version, you can listen to any track freely three times; after that (or before, if you were already feeling spendy) you can purchase the MP3s to download and keep. Even completely independent artists can sign on, upload and sell their music there, being paid directly by Last.fm.
How it all plays out… who knows? But artist or listener, just head on over and give it a test-drive.
Andrew Cyr writes:
Hi Jerry,
I just wanted to give you a heads up about a couple of things:
Avner Dorman, the composer we just cut an album with (in editing mode now), had some incredible news in Germany, which I think is potentially worthy of a post. His new percussion concerto was just premiered in Hamburg a few weeks ago, and was just added in a rare surprise programming shift, with Munich Symphony — when was the last time you heard an American symphony do something like that! Check out the press release, which I received from his publisher, Schirmer. You can have a look at his website, too, http://avnerdorman.com , for additional info too…
In Metropolis news, another very talented composer we’re
collaborating with, Ryan Francis (b.1981), has won a prestigious
commission from the American Composers Forum, for a piano concerto which we will premiere in April…. There’s pretty much complete info for you on that on our homepage, under NEWS (we’ve a blog post about it) http://metropolisensemble.org/ — might be worthy of a post with you at some point, if you announce these kind of things. I think Ryan is an incredibly talented composer to be watched…
Hope all is going well in the new year, and thanks for all your
support!!!
All the best,
Andrew
Who’s going to see Elmer Gantry at Montclair later this week? Want to write a review for us? No money but an incredible amount of love, peace and understanding (and what’s so funny about that?) and the next 10 Mozart CDs companies send me by mistake.
Marvin is doing the world premiere of the Alan Hovhaness concerto Shambala, for violin, sitar and orchestra, originally composed for Yehudi Menuhin and Ravi Shankar, on his Classical Discoveries radio program on January 30 during the 9 am EST hour. As usual, you can listen to it on the web at WPRB in Princeton.
The broadcast marks the February 14th release of the OgreOgress DualDisc comprising three Hovhaness works, each featuring violinist/violist Christina Fong. Both Shambala and Janabar (1950) appear in world-premiere recordings, while the concerto Talin was last recorded in its original viola & strings format in 1957.
I had a real thing about Sinclair Lewis when I was 10 or 11 years old. Read Arrowsmith, Dodsworth, Elmer Gantry, Babbitt, Main Street back to back. Lewis created characters that were not so much flesh and blood as archetypes of American mendacity. I soon moved on to Hemingway and Faulkner but Lewis–who was hardly in that league as a writer–was my first real exposure to concepts like satire and irony and skepticism and, for better or worse, far more influential in shaping my views of the world.
Despite being co-chair of composition at CalArts, Michael Pisaro stays off way too many people’s radar. Maybe this interview at the “Object Collection” blog will help get you up to speed.
Michael Pisaro was born in Buffalo in 1961. He is a composer and guitarist, a member of the Wandelweiser Composers Ensemble and founder and director of the Experimental Music Workshop. His work is frequently performed in the U.S. and in Europe, in music festivals and in many smaller venues. It has been selected twice by the ISCM jury for performance at World Music Days festivals and has also been part of festivals in Hong Kong, Vienna, Aspen and Chicago. Most of his music of the last several years is published by Timescaper Music (Germany). Several CDs of his work have been released by Edition Wandelweiser Records, most recently “transparent city, volumes 1 — 4” and “harmony series (11 — 16)”. His translation of poetry by Oswald Egger (“Room of Rumor”) was published in 2004 by Green Integer. He is Co-Chair of Music Composition at the California Institute of the Arts near Los Angeles. Before joining the composition faculty at CalArts, he taught music composition and theory at Northwestern University from 1986 to 2000.
Wordless Music packed The Church of St. Paul the Apostle last night by offering what was a surprisingly snoozy program. The chief somnambulists were Gavin Bryars and John Adams. Bryars’s The Sinking of the Titanic and Adams’s Christian Zeal and Activity both underscore pre-recorded tape tracks with autumnal, string-choir textures. Passive and reflective, both pieces are pretty; but, as sometimes happens when reflecting, the same tracks get tread over and over again, and the process, if drawn out for too long, becomes an essay in narcissism. To that end, Bryars’s Sinking lasts a lip-smacking forty minutes; Adams’s Zeal clocks in at a more sober fifteen. (Bryars’s fans can scream about “conceptual art” in the comments, but I’m not biting.)
Fortunately Jonny Greenwood had some vigor in him. By contrast with the other pieces, his Popcorn Superhet Receiver for string orchestra was a downright wild time filled with contrast and surprise. Just by boiling down a few diatonic washes into unisons, he evidenced the widest tonal pallet on the program. And for around ten minutes, Greenwood sustains a satisfying form. Things go wrong, however, with a poorly integrated up-tempo section which threatens to get incongruously poppy. But this quickly comes to a halt, the beautiful surges that define the earlier music return, and in the end Greenwood proves himself an auspicious new voice on the contemporary classical scene.