Click Picks, Composers, Contemporary Classical, Electro-Acoustic, Improv

Steve’s click picks #32

Our regular listen to and look at living, breathing composers and performers that you may not know yet, but I know you should… And can, right here and now, since they’re nice enough to offer so much good listening online:

Let’s go a little further east, via a couple netlabels (online labels that offer freely downloadable, full-length MP3 “CD”s, usually with accompanying notes and cover artwork) 

Nexsound (Ukraine) 

logoThey’ll tell you: Nexsound has been dedicated to the unusual and experimental music, both acoustic and electronic, that could be of any style and trend released on CDs and MP3 files. The term that describes music released by Nexsound best is probably “environmental music”, and it is often like “indocile ambient”. Nexsound music envelops you, listening to it feels like immersing into the very special atmosphere that this music creates, and thus it is intended rather for private listening. We pay the very special attention to the package of CDs released, so they look and feel very nice.

From the year of 2003 we’re also responsible for organizing concerts in Ukraine. From May, 2005 Nexsound hosts international festival for electronic music and visual arts – Detali Zvuku. Founded in 2000 by Andrey Kiritchenko in 2000 in Kharkiv city, Ukraine, Nexsound is currently being operated by Dmytro Fedorenko (Kotra) as well.

Besides traditional “for-sale” CDs, there’s a whole section of MP3-only releases; for the modern classical folks I’d especially recommend To Escape, To Breathe, To Keep Silence, by the young composer Alla Zagaykevych.

Musica Excentrica (Moscow) logo

Like they say: Musica Excentrica is a netlabel, based in Moscow, Russia, producing selected avantgarde post-music in non-entertainment genres (acoustic as well as electronic). In general, we are making music distribution in the internet as online label.

Mainly electro and improv, this label also carries a compilation of pieces composed as tributes to the memory of Iannis Xenakis, as well as Polina Voronova’s Luxurious, awarded an “Honorary Mention” in the digital music category at the Prix Ars Electronica / International Competition for CyberArts 2007.

Contemporary Classical

Sam Solomon in Lenox

On July 3, the very excellent percussionist, Sam Solomon, presented a Boston University Tangelwood Institute (BUTI) faculty recital at Trinity Church in Lenox (Ma). His program included pieces by Nico Muhly, Eric Hewitt, Michael Early, David T. Little, Marcos Balter, and Judd Greenstein, two of them–Hewitt and Early–first performances. Due to the circumstances, the place was packed with attentive and enthusiatic teenagers, although that doesn’t mean that such a demographic wouldn’t necessarily show up to such a performance somewhere else, given how exciting and entertaining this one was.

Every one of the pieces was thoughtfully made and impressively and interestingly executed, and every one was snappy and enjoyable to listen to, and, I suppose, to watch, although my own sight lines weren’t all that good. Anyone of them, by itself, would have impressed me a fair amount. I found myself thinking, though, that, just as just about every piece for harp, flute, and one or two strings seems to suggest that Debussy figured out almost everything that could be done with the combination and did it a while ago, and therefore just about every piece ends up sounding a little like the Debussy sonata, every piece for percussion has a similar kind of strategy and intention. Each had its point, including the peppy beginning of the Muhly, the slightly random, water dripping in the sink, first section of the Early, and the general spashiness of the Balter. David T. Little’s Three Sams concentrated first on pitches in (—)I Am (a very engaging line with unexpected and enjoyable twists and turns, then on non pitched elements, especially cymbals and drums in the dark and angry Son of (—), and then combined them in the slow and mournful Wicked Uncle (—), with the pitched elements suggesting the ghosts of half remembered half recognizable hymns and patriotic songs. Judd Greenstein’s biblically titled We Shall Be Turned, was perhaps the most memorable for being the quietest and most meditative of the pieces, starting with a simple pattern and returning to it again as the starting point for each of its increasingly longer and most complex discourses.

Sam Solomon’s performance was elegant, eloquent, and full of pazazz. He played each of the pieces as though it was the most important thing in the world. It was wonderful to hear. The recital, at just about a hour without an intermission, was exactly the right length.

Classical Music, Contemporary Classical, Festivals, Violin

Social Media and the Contemporary Composer

For your dining and dancing pleasure–through the miracle of YouTube–Club Sequenza21 is delighted to present the talented violinist/composer Piotr Szewczyk performing short solo violin pieces by regulars Lawrence Dillon and Jeff Harrington, live and in color, as part of his Violin Futura program at Spoleto.  Roll ’em, Pete.

[youtube]xJGdeOUNokM [/youtube]

[youtube]z5yBrIFZIcs [/youtube] 

Contemporary Classical, New York, Opera

Beverly Sills, 1929-2007

Beverly Sills, the All-American diva from Brooklyn, has died of cancer.  Bubbles, as she was known to all, was a big lady with a big heart whose down-to-earth personality, talent and lifelong dedication to Lincoln Center made her a treasure for the city’s arts establishment.  I never heard her sing live in her prime but there are those who swear her Lucia and Rosina were among the best.  She was a hometown heroine who will be missed. 

UPDATE

Steve Smith, Tim Page, Anthony Tommasini  

 

Contemporary Classical

NEA Funding Update

Last Thursday, the NEA funding increases survived three hostile amendments in the House and ultimately made it through to approval unscathed.  The most hostile of the amendments, offered by Doub Lamborn (R-CO), would have eliminated funding for the NEA, and was defeated 97-335.  Of those 97 yes votes, 3 were Democrats: Gene Taylor of Mississippi, Ike Skelton of Missouri, and Jim Matheson of Utah.  The Republicans were split roughly 50/50, with 94 ayes and 104 nays.  The closest vote was for the Bishop amendment to move $31.6 Million from the NEA to the Bureau of Land Management, the Fish and Wildlife Service, National Parks, and the Forest Service.  The 156-270 defeat was a 114 vote margin (i.e. 57 people changing their vote from nay to aye would have resulted in a tie.).

Interestingly, the Bishop amendment was the first offered.  The Brown-Waite amendment to remove the NEA increase outright was offered and defeated by a wider margin (137-285) the following day.  The Lamborn amendment was the second-to-last amendment offered, at a point when one imagines that Lamborn knew it had no chance of passage, which leads me to suspect that it was simple posturing rather than a serious threat.  NEA support seems strong, overall, and I am encouraged for the bill’s prospects in the Senate.  Furthermore, this increase has gotten relatively little media coverage, which probably means that the media doesn’t consider it a controversial or otherwise interesting issue.  Given the extent to which the NEA has historically served as a proxy for conservative frustrations with the government, that the nation seems to see this funding increase as routine and unremarkable is probably a good sign for those of us who support a robust NEA.

Contemporary Classical

Requiescat in Pace

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One of my dearest friends and a neighbor of many years died this afternoon.  He was a lifelong bachelor who had lost most of the hearing in both ears when an anti-tank gun fired while he was crawling under it in France during World War II when he was 19.  He went on to become a respected man of science, a cancer researcher, and a well-known skeptic of alternative medicine.  He had no tolerance for miracle cures and especially hated those who sold hope to the hopeless with their promises of blood transfers and shark skin enemas and other exotic cures.  He was not warm and cuddly and he didn’t have a lot of friends and I was one of them.  I saw him today about a half hour before he died but the last time we connected was on Thursday, just before he went into that final morpheus cloud.  I was talking to him when he suddenly opened his eyes–for the first time in several days–and squeezed my hand.  His eyes said:  “Don’t be afraid.  It’s not that big a deal.  It’s just science.”  

Classical Music, Contemporary Classical, Opera

Cue the Tenor

So, the wonderful Serbian film director Emir Kusterica’s new opera Time of the Gypsies (based on his zany film of the same name) opened last night in Paris.  Woody Allen is directing Puccini and David Cronenberg is prepping The Fly for L.A.  Anthony Minghella, Michael Haneke, Zhang Yimou. What is happening here? Have we run out of opera directors? Have film directors done operas in the past? Are opera companies just hoping that a high profile director can pack the seats?

Classical Music, Composers, Contemporary Classical

Do Conductors and Performers Make Good Composers?

Joshua Bell tells the Korea Times that he’s working toward writing his own stuff in a few years.  Could work, I suppose.  His pal Edgar Myers is a decent composer and fine musician.  But, you pretty much have to go back to Rachmaninoff to find someone who was “great” as both a performer and composer.  (Or, I’m sure someone will remind me that you don’t have to go back that far.)

Same thing for conductors.  Okay, Lenny was great at both but most are not.  The most excruciating half hour I ever spent in a concert hall (and this includes Chinese opera) was listening to some endless percussion drivel by Michael Tilson Thomas that he had forced upon the poor kids in the New World Symphony.  I really admire Esa Pekka but I just can’t warm to his music.

So, gang, what’s the verdict?