(For the season, and my Winter Fundraiser, I'm reposting some old favorites.) They read, and they write, and not music. They read books about all sorts of things other than music. They gather material, experience, knowledge, ideas. They react to these things. And they write. Composers are, generally, excellent prose writers. This isn't a surprise … Continue reading How Composers Learn, Part 2
Paucity of posts does not mean lack of content. Solo parenting for a month meant I only got out to one concert, but it was notable, and I still produced a good amount of work, here’s where to find it: At the New York Classical Review, read my preview of The Death of Klinghoffer and my review of opening night … Continue reading The Latest
I say "yes" to these sentiments from my colleague Christian Carey over at Sequenza21. He's responding to a strange article in the New York Times about John Adams' new saxophone concerto. But the piece actually turned out to be a chance for Adams to moan about an unnamed but obvious successful young composer and for … Continue reading Ditto
John Adams, *City Noir,* Gustavo Dudamel & the Los Angeles Philharmonic Gustav Mahler, *Symphony No. 9,* Gustavo Dudamel & the Los Angeles Philharmonic Gustavo Dudamel & the Los Angeles Philharmonic, Avery Fisher Hall: March 27, 2013; John Adams, The Gostpel According to the Other Mary March 28, 2013; Claude Vivier, Zipangu, Claude Debussy, La Mer, … Continue reading The Dude Ambles By
American Mavericks is in full swing here in New York City. I have some mixed feelings about Monday's San Francisco Symphony concert -- I'm not sure what John Adams was thinking when he made Absolute Jest, and it's hard to square Jessye Norman's substantial career with a performance of John Cage's Song Books -- the … Continue reading Maverick Media
In 1996, I went to a San Francisco Symphony concert with a good friend. The program was generally typical of orchestra concerts around the world; an overture, a concerto, intermission, a symphony. In the details, however, lay the brilliance of Michael Tilson Thomas' musicianship, attitude and salesmanship (a vtial talent for a music director): Rossini's … Continue reading San Francisco Symphony, Adams: Harmonielehre, Short Ride in a Fast Machine
Wolfgang Mitterer, Music for Checking e-mails Alvin Lucier, Almost New York; There are some lovely drone/tuning pieces on here from Lucier. "Twonings" sets cello against piano, the stringed instrument at times matching the piano note while at others the cellist plays a sharp or flat microtone, setting up Lucier's characteristic sonic beating. Having two live musicians playing, … Continue reading October Light Playlist
Basinski's piece is an accidental one, the sound produced from the process of old magnetic tapes literally falling apart on each pass by the play head on a tape recorder. The composer says the project ended on the morning of 9/11. It's a piece about physical decay, dissipation, the loss of records and memories. Ten years later, that's what we have left.