I read, with sadness and fond memories, David Lang's memorial tribute to composer and teacher Donald Martin Jenni. I didn't study composition with Prof. Jenni, but I do recall learning a tremendous amount about music and about how to think about music in some of the classes David mentions in his piece.
RIP
31.7.06
24.7.06
New Blog
I'm adding the blog of the San Francisco Chronicle music critic Joshua Kosman to the blogroll.
In one of his first posts, Mr. Kosman demonstrates a good ear and the not-all-that-common ability to translate what he hears (in Mahler's Symphony No. 9, I) into meaningful prose:
In one of his first posts, Mr. Kosman demonstrates a good ear and the not-all-that-common ability to translate what he hears (in Mahler's Symphony No. 9, I) into meaningful prose:
Complications are in the air. We careen around the corner, and — whoosh, everything gets sucked out of the atmosphere. Suddenly there's just this gaping
wide-spaced ninth: B in the bass, C# way up in the first violins, and nothing much in between except a sugary harp arpeggio to fill in the simple harmony. It's like biting into what you think is a hunk of bread and finding meringue.
21.7.06
Eve Beglarian
My review of a disc of music by Eve Beglarian will soon be up at Sequenza21. [EDIT, 22 July: The review is posted.]
I've been aware since I started the 101 project that I needed a "Downtown" piece on the list. Ms. Beglarian's The Marriage of Heaven and Hell is that piece. It replaces Karol Symanowski's King Roger on the list. (The change is reflected in the list at the bottom of listen.'s main page.)
I've been aware since I started the 101 project that I needed a "Downtown" piece on the list. Ms. Beglarian's The Marriage of Heaven and Hell is that piece. It replaces Karol Symanowski's King Roger on the list. (The change is reflected in the list at the bottom of listen.'s main page.)
10.7.06
5.7.06
Lorraine Hunt Lieberson
By now you will have read that Lorraine Hunt Lieberson has died at 52. I never heard her in performance, but from the recordings I have heard it was clear that she was an artist of the first rank, and her loss is a major one. May she rest in peace. My heartfelt condolences go out to her family and friends.
Addendum, 7 July: Marc Geelhoed has posted a lovely tribute in Slate. Also, The Standing Room has a good round-up of the obituaries and remembrances.
Addendum, 7 July: Marc Geelhoed has posted a lovely tribute in Slate. Also, The Standing Room has a good round-up of the obituaries and remembrances.
4.7.06
Happy Fourth: The People United
(White Flag, 1955, Jasper Johns)
(Flag, Barbara Kruger)
The United States is a revolutionary country, the first nation ever established on ideas, ideas that in themselves were revolutionary. Even though the founding documents themselves violated these ideals, both by what they said (blacks were counted as 3/5 of a person and allowed to be held as slaves) and by what they left out (no voting rights for women), these documents also included the means to resolve the contradictions.
America has been looked upon by people around the world as a symbol of our aspirations toward freedom, and theirs, even when we are failing our stated ideals. One of these failures was our sponsorship of the Chilean coup in 1973. During the unrest preceding the coup, television producer Sergio Ortega turned a popular protest chant "The people united will never be defeated" into a song, a powerful cry for freedom.
American composer Frederic Rzewski composed an epic set of 36 variations on the song in 1975. The resulting piece is one of the great solo piano works of the 20th century. The dizzying array of styles and techniques that Rzewski uses in this work become metaphors for both the desire for freedom and the multiplicity of American life. Contrary to what we are generally taught, America is not the only home of freedom in the world, but we were among the first to express the meaning of freedom in our nationhood, even when we betray those ideals at home and abroad. So, my listening list for today consists of Frederic Rzewski's The People United Will Never Be Defeated!
Bonus track: Bruce Springsteen, "Bring 'Em Home".
Last year's July Fourth listening list is here.
Jerry Bowles and commenters' lists here.
Alan Theisen is thinking of fireworks.
1.7.06
Elsewhere
I've come to believe classical music and opera are the greatest gifts ever given to humanity and masterpieces that command a singular devotion . . .
So writes Chris Timmons in an op-ed piece in the Tallahassee (FL) Democrat. The piece is an impassioned invitation to Mr. Timmons' fellows laypersons to investigate concert music, in hopes that their lives will be enriched as his has been.
Kyle Gann has an intriguing post up about the Hudson River school of painting (coincidentally the representative painting that speaks most clearly to me). He wonders why it took American musicians longer to develop distinctly American means of expression than it did painters. It's a complicated question and I certainly don't know the answer. In fact, there is certainly no single answer, but I suspect that part of it is that a vital musical culture requires significantly more infrastructure (performers being the main part of that infrastructure) than does a visual culture.
30.6.06
Palm Beach Story
I've added the blog of Palm Beach Post writer Greg Stepanich to the blogroll. Mr. Stepanich covers concert music in the growing South Florida region, as well as recordings and events in the concert music world at large.
27.6.06
...and the list'nin' isn't necessarily easy
Pieces that refer to summer, one way or another:
"Sumer is icumen in"
Gustav Mahler, Symphonie 3, I: "Pan Awakens; Summer Marches In"
George Gershwin, "Summertime", from Porgy and Bess
Samuel Barber, Summer Music
Samuel Barber, Knoxville: Summer of 1915
Michael Tippett, The Midsummer Marriage
Felix Mendelssohn, A Midsummer Night's Dream (incidental music)
Benjamin Britten, A Midsummer Night's Dream (opera)
Anton Webern, Im Sommerwind
John Cage, "Summer" from The Seasons
Antonio Vivaldi, "L'Estate", from Le Quattro stagioni
Arnold Schoenberg, "Sommermorgen an einem See", Op. 16, No. 3
Paul Hindemith, "On hearing 'The Last Rose of Summer'"
George Crumb, Music for a Summer Evening (Makrokosmos III)
Bonus track:
Fountains of Wayne, "It Must Be Summer"
"Sumer is icumen in"
Gustav Mahler, Symphonie 3, I: "Pan Awakens; Summer Marches In"
George Gershwin, "Summertime", from Porgy and Bess
Samuel Barber, Summer Music
Samuel Barber, Knoxville: Summer of 1915
Michael Tippett, The Midsummer Marriage
Felix Mendelssohn, A Midsummer Night's Dream (incidental music)
Benjamin Britten, A Midsummer Night's Dream (opera)
Anton Webern, Im Sommerwind
John Cage, "Summer" from The Seasons
Antonio Vivaldi, "L'Estate", from Le Quattro stagioni
Arnold Schoenberg, "Sommermorgen an einem See", Op. 16, No. 3
Paul Hindemith, "On hearing 'The Last Rose of Summer'"
George Crumb, Music for a Summer Evening (Makrokosmos III)
Bonus track:
Fountains of Wayne, "It Must Be Summer"
26.6.06
Workshop (VI)
I recently completed two pieces, The Rings of Saturn (clarinet and viola, 4 minutes) and The Beginning of Things (piano trio, 19 minutes). Scores (in PDF format) are available for the asking.
13.6.06
Ross on Feldman
12.6.06
Ligeti
"'I am an enemy of ideologies in the arts. Totalitarian regimes do not like dissonances." --GL
Gyorgy Ligeti, one of the best and most important composers of the second half of the 20th century, has died. His publisher, Schott, has an article here. Alex Ross links to this obituary.
Update, 13 June: Tim Rutherford-Johnson has assembled links to the many tributes and obituaries that have appeared in the blogosphere and throughout the web so far. In a separate post Tim provides a link to a filmed performance of Ligeti's Poeme Symphonique (1962), for 100 metronomes. The ending of the piece is especially poignant today.
Gyorgy Ligeti, one of the best and most important composers of the second half of the 20th century, has died. His publisher, Schott, has an article here. Alex Ross links to this obituary.
Update, 13 June: Tim Rutherford-Johnson has assembled links to the many tributes and obituaries that have appeared in the blogosphere and throughout the web so far. In a separate post Tim provides a link to a filmed performance of Ligeti's Poeme Symphonique (1962), for 100 metronomes. The ending of the piece is especially poignant today.
5.6.06
Miriam Burns
The Tallahassee (FL) Symphony Orchestra has appointed Miriam Burns its Music Director and Conductor. (My review of her audition concert is here.)
I look forward to hearing what Ms. Burns can do to move the Orchestra forward. I'm also very interested to see what her relationship will be (if any) with the composers in the community.
I look forward to hearing what Ms. Burns can do to move the Orchestra forward. I'm also very interested to see what her relationship will be (if any) with the composers in the community.
30.5.06
Shostakovich
Please read this column on Dmitri Shostakovich, by fellow Tallahassean Samuel L. Scheib. Prophets are, in fact, often without honor in their own countries.
29.5.06
Florida State Opera, etc.
Here's my review of this past weekend's Florida State Opera production of Gustav Holst's Sāvitri and Marius Constant's adaptation of George Bizet for La Tragédie de Carmen.
Elsewhere, Allan Kozinn of the New York Times examines some statistics that indicate that reports of the demise of concert music are premature and exaggerated. I have noticed mostly good sized audiences for events here this season, including Saturday evening's opera production, so my recent experience is in line with the numbers in Mr. Kozinn's article. I am not surprised to see the statistics supporting the idea that early and new musics are bringing new listeners into the fold.
Finally, a few pieces for Memorial Day listening, in honor of those who gave the ultimate sacrifice in service:
Charles Ives, "Decoration Day", from the Holidays Symphony;
Benjamin Britten, War Requiem;
Aaron Copland, Fanfare for the Common Man;
Paul Hindemith, When lilacs last in the door-yard bloom'd. A Requiem "For those we love"; and
Roger Sessions, When lilacs last in the door-yard bloom'd.
Elsewhere, Allan Kozinn of the New York Times examines some statistics that indicate that reports of the demise of concert music are premature and exaggerated. I have noticed mostly good sized audiences for events here this season, including Saturday evening's opera production, so my recent experience is in line with the numbers in Mr. Kozinn's article. I am not surprised to see the statistics supporting the idea that early and new musics are bringing new listeners into the fold.
Finally, a few pieces for Memorial Day listening, in honor of those who gave the ultimate sacrifice in service:
Charles Ives, "Decoration Day", from the Holidays Symphony;
Benjamin Britten, War Requiem;
Aaron Copland, Fanfare for the Common Man;
Paul Hindemith, When lilacs last in the door-yard bloom'd. A Requiem "For those we love"; and
Roger Sessions, When lilacs last in the door-yard bloom'd.
22.5.06
Virtuosity
Robert Gable posts about listening to Elliott Carter's Violin Concerto:
Mr. Gable is referring to Oliver Knussen's recording of the Occasions, the Violin Concerto, and the Concerto for Orchestra. (My review of a more recent recording of the Violin Concerto is here.) It won't surprise regular readers that my experience of this music is different from Mr. Gable's (I'm interested in his choice of the word "dour" and what exactly he means by it), but that's not what intriqued me about his post.
What did catch my eye is the bit about virtuosity ("Although presumably difficult to play, I don't get a sense of virtuosic showmanship and a result, this is not much fun.") This brings up a problem I have thought about for some time: How does a composer (and soloist) communicate the idea and fact of "virtuosity" in a pantonal context?
In tonal music a listener can readily hear wrong notes, flubbed notes, less-than-felicitous phrasing, and the like. They can even predict (within bounds) what's coming next in pieces they've never heard before. The feats of virtuosity are themselves part of the expressive content of many concertos. Those that fail to integrate the virtuosity with other expressive elements (if any) are heard as exercises in "empty" virtuosity.
Pantonal music doesn't typically have the predictive elements (what tonal theorists sometimes describe as "postion-finding" and "pattern-matching") of tonal music and so it can be difficult to tell if the right notes have been played, especially in a new or unfamiliar piece. It can be difficult, then, for the pantonal composer to communicate the triumph of the soloist through the overcoming of technical obstacles that is so much a part of the "narrative" of a solo concerto.*
Mr. Gable notes a preference for Carter's Piano Concerto, and that may be telling in light of the virtuoso issue. The Piano Concerto is far less colorful than the Violin Concerto (the word "dour" almost comes to mind) and its vision more tragic. The piano soloist is cast as an anti-hero whose prodigious virtuosity is eventually overwelmed by the orchestral mass. It may be that this clear dramatic structure and virtuoso struggle is more immediately apparent to the listener than the ever-changing relationships in the Violin Concerto.
One reason these thoughts readily popped up after reading Mr. Gable's post is that I am preparing to write a concerto for percussion and band, and the idea of virtuosity will certainly arise, along with a host of others that I'll blog about from time to time.
______________________________
*It should go without saying that the soloist as hero is not the only narrative strategy available, regardless of the musical style.
After two listens, I still can't parse Three Occasions for Orchestra. Much as I prefer my violin concertos to be aged several hundred years, Carter's Violin Concerto is easier to understand than the first piece since one voice is usually prominent. Still, it strikes me as a dour piece. Although presumably difficult to play, I don't get a sense of virtuosic showmanship and a result, this is not much fun. And if I want to experience Carter's compositional rigor, I prefer the clarity of his works for piano or string quartet (or even his Piano Concerto).
Mr. Gable is referring to Oliver Knussen's recording of the Occasions, the Violin Concerto, and the Concerto for Orchestra. (My review of a more recent recording of the Violin Concerto is here.) It won't surprise regular readers that my experience of this music is different from Mr. Gable's (I'm interested in his choice of the word "dour" and what exactly he means by it), but that's not what intriqued me about his post.
What did catch my eye is the bit about virtuosity ("Although presumably difficult to play, I don't get a sense of virtuosic showmanship and a result, this is not much fun.") This brings up a problem I have thought about for some time: How does a composer (and soloist) communicate the idea and fact of "virtuosity" in a pantonal context?
In tonal music a listener can readily hear wrong notes, flubbed notes, less-than-felicitous phrasing, and the like. They can even predict (within bounds) what's coming next in pieces they've never heard before. The feats of virtuosity are themselves part of the expressive content of many concertos. Those that fail to integrate the virtuosity with other expressive elements (if any) are heard as exercises in "empty" virtuosity.
Pantonal music doesn't typically have the predictive elements (what tonal theorists sometimes describe as "postion-finding" and "pattern-matching") of tonal music and so it can be difficult to tell if the right notes have been played, especially in a new or unfamiliar piece. It can be difficult, then, for the pantonal composer to communicate the triumph of the soloist through the overcoming of technical obstacles that is so much a part of the "narrative" of a solo concerto.*
Mr. Gable notes a preference for Carter's Piano Concerto, and that may be telling in light of the virtuoso issue. The Piano Concerto is far less colorful than the Violin Concerto (the word "dour" almost comes to mind) and its vision more tragic. The piano soloist is cast as an anti-hero whose prodigious virtuosity is eventually overwelmed by the orchestral mass. It may be that this clear dramatic structure and virtuoso struggle is more immediately apparent to the listener than the ever-changing relationships in the Violin Concerto.
One reason these thoughts readily popped up after reading Mr. Gable's post is that I am preparing to write a concerto for percussion and band, and the idea of virtuosity will certainly arise, along with a host of others that I'll blog about from time to time.
______________________________
*It should go without saying that the soloist as hero is not the only narrative strategy available, regardless of the musical style.
16.5.06
25 in 25
I've gotten quite a few hits from this thread in the last couple of days. Also, Scott Spiegelberg and A. C. Douglas have revived an on-going discussion of how best to bring new listeners to the world of concert music, or even if it is worth the effort to do so. Their posts contain numerous links to a variety of conversations on the subject, including recommendations of pieces for newbies to listen to.
What I propose to do is to focus for a while on music of the last 25 years. Why? Because it is my strong belief that composers have always written their works as people living in their times. This seems obvious, but there is still the idea out there that artists are detatched from the world around them. They are often separated in some important ways, but they were/are perceptive, aware people.
Therefore, one way to attract new listeners is to expose people to works written during their lifetimes, in an environment that is not totally foreign to them. What about the past? The past is always with us. Sometimes it's not even past. Listeners capture by our music will often look around for older music that is new to them.
Accordingly, I'm asking you to nominate pieces for a list of 25 Significant Pieces of the Last 25 Years. Anything written between 1981 and now is eligible for inclusion. Please e-mail me your nominations (or post them as comments) along with any criteria you may have used.
I'll compile what I get and, since I'm in Florida, I'll post the results I think we should have. (I kid, I kid.)
What I propose to do is to focus for a while on music of the last 25 years. Why? Because it is my strong belief that composers have always written their works as people living in their times. This seems obvious, but there is still the idea out there that artists are detatched from the world around them. They are often separated in some important ways, but they were/are perceptive, aware people.
Therefore, one way to attract new listeners is to expose people to works written during their lifetimes, in an environment that is not totally foreign to them. What about the past? The past is always with us. Sometimes it's not even past. Listeners capture by our music will often look around for older music that is new to them.
Accordingly, I'm asking you to nominate pieces for a list of 25 Significant Pieces of the Last 25 Years. Anything written between 1981 and now is eligible for inclusion. Please e-mail me your nominations (or post them as comments) along with any criteria you may have used.
I'll compile what I get and, since I'm in Florida, I'll post the results I think we should have. (I kid, I kid.)
7.5.06
High Hat
The new of issue of The High Hat is out. It includes, among other pieces on art, pop culture, and politics, my article on Olivier Messiaen's Quatuor pour la fin du temps. Please give the rest of the magazine a look while you are there.
1.5.06
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