Not Brahms and Liszt is my weekly radio program on MIT's community radio station, WMBR, featuring classical music of the 20th and 21st centuries, from Stravinsky to Reich to Frances-Hoad and onward. It is broadcast on:
Mondays from 4-5:30pm
88.1 FM, Cambridge, MA
There's a 52-second promo for Not Brahms and Liszt. Thanks to Ken Field for engineering it!
For most people, "classical music" is Western art music from the 18th and 19th centuries. Most of the symphony orchestra repertoire comes from this period, as do the playlists of classical music radio stations. Although this period of music has many gems, much of its music tends to bore listeners who grew up on rock and jazz. It's no wonder symphony orchestras are struggling, with ever-aging audiences listening to museum music. But classical music didn't die with the dawning of the 20th century, and the classical repertoire of the 20th and 21st centuries is edgy, challenging, stimulating and beautiful — anything but boring. My show brings the modern classical repertoire — from Stravinsky to Tippett to Reich to Nyman to Frances-Hoad and onward — to WMBR.
"Brahms and Liszt" is Cockney rhyming slang for "pissed", as in drunk.
Requests, feedback and information about upcoming concerts can be emailed to me at firstname.lastname@example.org. I'm @fullyabstract on Twitter.
New modern classical releases will be gratefully accepted and considered for airplay:
C/O Alley Stoughton, Classical Music Director
3 Ames Street
Cambridge, MA 02142
Helen Sherrah-Davies presents a concert of her compositions emerging from that place where color, image and sound are one. Admission is free.
Hub New Music performs works by Bates, Forrest, Gandolfi, Greenstein and Muhly. Admission is free.
Sofia Gubaidulina curates a program of her musical inspirations in connection with the BSO's world premiere of her Triple Concerto for Violin, Cello and Bayan later that evening. Admission is free.
Andris Nelsons conducts the BSO in a program consisting of the world premiere of Sofia Gubaidulina's Triple Concerto for Violin, Cello and Bayan, featuring soloists Baiba Skride, Harriet Krijgh and Elsbeth Moser, and Shostakovich's Symphony No. 7, Leningrad. Program repeats on Friday, February 24, at 1:30pm and Saturday, February 25, at 8pm.
Coupled with spoken poetry of Rumi, duoJalal performs works by today’s leading composers including works commissioned for the project by Evan Ziporyn and Lev Zhurbin. Admission is free.
John Heiss curates a concert honoring Sofia Gubaidulina, featuring chamber music by Gubaidulina, Webern and Schoenberg. Admission is free.
Tuesday Night New Music is a student-run, faculty-supervised concert series offering the opportunity to hear new music by student composers at NEC. Admission is free.
This show of 2017 vocal releases began with Hilary Tann's (Wikipedia) 1997 The Moor, recorded by Cappella Clausura, off their album Exultet Terra: Choral Music of Hilary Tann. This was followed by Scott Perkins's (Wikipedia) 2006 The Stolen Child, recorded by Audivi, off their album The Stolen Child: Choral Works of Scott Perkins. Next came Caroline Shaw's (Wikipedia) 2016 To The Hands, recorded by The Crossing and International Contemporary Ensemble, off their album Seven Responses. The show continued with Stacy Garrop's 2011 Songs Of Lowly Life, recorded by Volti and soloist Kelly Ballou, off their album This Is What Happened: More New Directions In American Choral Music. This was followed by The Crossing and International Contemporary Ensemble's recording of Anna Thorvaldsdottir's (Wikipedia) 2016 Ad Genua ("To the Knees"), and also off Seven Responses. And the show concluded with Shawn Crouch's 2009/2013 Paradise, recorded by Volti, and also off This Is What Happened.
This show began with Ted Hearne's (Wikipedia) 2010 Nobody's, recorded by violinist Francesca Anderegg, and off her 2016 album Wild Cities. This was followed by Anderegg and pianist Brent Funderburk's recording of Reinaldo Moya's 2012 Imagined Archipelagos, also off Wild Cities. Next came Christopher Cerrone's (Wikipedia) 2010 Hoyt-Schermerhorn, recorded by pianist Vicky Chow, and off her 2016 album A O R T A. The show continued with Moya's 2011 Rayuela Preludes, recorded by pianist Yael Manor, and off her 2015 album Elixir. This was followed by Hearne's 2014 By-By Huey, recorded by Eighth Blackbird, and off their 2016 album Hand Eye. And the show concluded with two pieces recorded by Red Light New Music, and off their 2015 release Barbary Coast: Cerrone's 2011 The Night Mare, followed by Hearne's 2012 Crispy Gentlemen.
This show of innovative vocal music began with bass-baritone Robert Osborne and Newband's recording of Harry Partch's (Wikipedia) 1942-43 Dark Brother, which takes its text from the final two paragraphs of Thomas Wolfe's essay God's Lonely Man. This was followed by tenor Ben Johnston and Kronos Quartet's recording of Partch's 1941/1954/1967 Barstow, "Eight Hitchhikers' Inscriptions from a Highway Railing at Barstow, California". Next came Dean Drummond's (New York Times obituary) 1999 Congressional Record, recorded by Osborne, Drummond and Newband. The show continued with Roomful Of Teeth's recording of Caroline Shaw's (Wikipedia) 2009-2012 Partita for 8 Voices (New York Times interview). This was followed by Neil B. Rolnick's (Wikipedia) 2004 Body Work for soprano voice and computer, recorded by Joan La Barbara (Wikipedia, Bruce Duffie interview). And the show concluded with La Barbara's 1977 Twelvesong for multi-track tape.
This show of new releases began with Bob Kroeger's recording of his 2017 Elections Have Consequences. This was followed by guitarist David William Ross's recording of two pieces by Georges Raillard (PARMA blog): He Burst Out Laughing (2006) and Patio (2008). Next came Peter Greve's (Navona) 2005 Sonata for Flute and Piano, recorded by pianist Lucie Kaucká and flutist Petr Hladík. The show continued with Meridian String Quartet's recording of Joel Mandelbaum's (Ravello) 1962-78 String Quartet No. 2. Next came Hat Trick's recording of Sofia Gubaidulina's (Boosey and Hawkes, Bruce Duffie interview) 1980 Garten von Freuden und Traurigkeiten (Garden of Joy and Sorrow) for flute, viola and harp. The show continued with Hans Bakker's (Navona) 2005 Trio for Flute, Oboe and Clarinet, recorded by Markéta Soldánová on flute, Aleš Janeček on clarinet, and Gabriela Kummerová on oboe. And the show concluded with Hat Trick's recording of Miguel del Águila's 2013 Submerged.
This program of new releases began with Björk (Wikipedia) and Thomas Knak's 2001 Undo, recorded by soprano Renée Fleming and Royal Stockholm Philharmonic Orchestra, conducted by Sakari Oramo. This was followed by mezzo-soprano Aylish Kerrigan and pianist Dearbhla Collins's recording of Anne-Marie O'Farrell's 2009 Hoopoe Song, with its text by Seamus Cashman. Next came Anders Hillborg's 2012-13 The Strand Settings, with its text by Mark Strand, recorded by Fleming and Royal Stockholm Philharmonic Orchestra, with Oramo conducting. The show continued with ConTempo Quartet's recording of Jane O'Leary's (Wikipedia) 2015 The Passing Sound of Forever. This was followed by bassonist Frank Forst and pianist Yukiko Sano's recording of Peter Hope's (Wikipedia) 2014 Bassoon Sonata. Next came clarinetist Paul Roe and pianist David Bremner's recording of O'Leary's 2015 Murmurs and Echoes. And the show concluded with Hope's 2010 A Walk with My Dog, Molly, narrated by Pam Zinneman-Hope, with John Turner on recorder.
This Martin Luther King Jr. Day show of music inspired by Dr. King began with David Amram's (Wikipedia) 1974 Three Songs for America, recorded by Manhattan Chamber Orchestra and bass James Courtney, with Richard Auldon Clark conducting. The Three Songs take their texts from John F. Kennedy, King and Robert F. Kennedy, respectively. This was followed by Duke Ellington's (Wikipedia) 1943 Three Black Kings, recorded by Buffalo Philharmonic Orchestra, with Sal Andolina on clarinet and alto saxophone, conducted by JoAnn Falletta. Three Black Kings was left unfinished upon Ellington's death in 1974, and was completed between then and 1976 by his son Mercer Ellington. The movements of Three Black Kings are entitled King of the Magi, King Solomon and Martin Luther King, respectively. Next came New York Philharmonic and The Swingle Singers' recording of Luciano Berio's (Wikipedia, Bruce Duffie interview) 1968 Sinfonia, with Berio conducting. The lyrics of its second movement are based on the phonemes of "O Martin Luther King". The show continued with Málaga Philharmonic Orchestra's recording of Leonardo Balada's (Wikipedia, Bruce Duffie interview) 1968 Sinfonía en Negro (Symphony in Black), Homage to Martin Luther King, "Symphony No. 1", with Edmon Colomer conducting. And it concluded with movement XI. His Truth Is a Shield of Dave Brubeck's (Wikipedia) 1968 The Gates of Justice, recorded by Baltimore Choral Arts Society, Dave Brubeck Trio and baritone Kevin Deas, with Russell Gloyd conducting. The first stanza of the movement's text comes from King's words at a late 1963 meeting in Gadsden, Alabama. And the movement's title and the final stanza of its text are from Psalm 91:4-5.
This show of solo works by Philip Glass (Wikipedia) began with harpist Lavinia Meijer's (Wikipedia) recording of her arrangement of Glass's 1982 Koyaanisqatsi, the main theme for his score for the 1982 film of the same name. This was off Meijer's 2016 album The Glass Effect. Next came Glass's 1992-2012 Etudes Nos. 1, 8, 10 and 17, the second and fourth harp arrangements by Meijer off The Glass Effect, and the first and third off pianist Bruce Levingston's 2016 album Dreaming Awake. This was followed by pianist Paul Barnes's recording of Orphée Suite, Barnes's 2000 arrangement of Glass's 1993 chamber opera Orphée. The show continued with organist Donald Joyce's recording of Glass's 1979 Mad Rush (notes by Aleck Karis). This was followed by Levingston's recording of Glass's 1988 Metamorphosis II (notes by Aleck Karis), also off Dreaming Awake. And the show concluded with an excerpt of Barnes's recording of his piano arrangement of the epilogue of Glass's 1997 opera Monsters of Grace.
This show began with Errollyn Wallen's (Wikipedia, The Guardian, Gramilano interview, The Arts Desk: 10 Questions) 2001 In Earth, recorded by Quartet X, Wallen on vocals, and Tim Harries on bass guitar. This was followed by Poul Ruders's (Wikipedia, Dacapo Records, Alex Ross) 2012 Symphony No. 5, recorded by Danish National Symphony Orchestra, with Olari Elts conducting. Next came Wallen's 2007 Photography, recorded by Ensemble X, with Nicholas Kok conducting. The show continued with Christopher Rouse's (Wikipedia, Bruce Duffie interview) 2013 Symphony No. 4, recorded by New York Philharmonic, with Alan Gilbert conducting. This was followed by Ruders's 1987 Nightshade, recorded by Capricorn Ensemble, with Oliver Knussen conducting. And the show concluded with an excerpt of Rouses's 1976 Ogoun Badagris for five percussionists, recorded by Concordia Orchestra, conducted by Marin Alsop.
This show of 2016 orchestral releases began with Christopher Rouse's (Wikipedia, Bruce Duffie interview) 2012 Prospero's Rooms, recorded by New York Philharmonic, with Alan Gilbert conducting. This was followed by Charles Wuorinen's (Wikipedia, Bruce Duffie interview) 2003 Fourth Piano Concerto, recorded by Boston Symphony Orchestra and pianist Peter Serkin, with James Levine conducting. Next came Macedonian Radio Symphonic Orchestra's recording of Jean Catoire's 1971 String Sextet III, Opus 214. And the show concluded with Rouse's 2009 Odna Zhizn, recorded by New York Philharmonic, with Gilbert conducting.
This show of 2016 chamber music releases began with Kreutzer Quartet's recording of Michael Slayton's 2010 Sursum, off his 2016 album Sursum. This was followed by Vox Clamantis's recording of three pieces by Arvo Pärt (Wikipedia, The Guardian) from the 2016 album Arvo Pärt: The Deer's Cry (Pitchfork): the 2005 Von Angesicht zu Angesicht, the 2008 Alleluia-Tropus and the 2012-2013 Virgencita. Next came pianists Sang-Hie Lee and Martha Thomas's recording of Daniel Perlongo's 2009 Windhover, off the 2016 album Ars Nostra: But Now the Night. The show continued with violinist Davis Brooks's recording of two pieces by Corey Fant from the 2016 album Early Musings: ....Of The Mind and ....Of The Eyes. This was followed by three compositions by Meredith Monk (Wikipedia, The Guardian, New York Times) off the 2016 album On Behalf of Nature (Pitchfork): High Realm, Fractal Activity and Environs 1. Next came Atlantic Ensemble's recording of Slayton's 2014 Dreamers' Meadows, also off Sursum. This was followed by Brooks's recording of Tyler Jones's 2016 Solitude, also off Early Musings. And the show concluded with Slayton's 2007 Le Soir Tombe, recorded by soprano Amy Jarman and pianists Melissa Rose and Jerome Reed, and also off Sursum.
This show celebrated the music of composer and accordionist Pauline Oliveros (Wikipedia, New York Times obituary, American Mavericks interview, "Fifteen" Questions interview, Bruce Duffie interview, ESTWeb interview, Snapshots interview, Artsmania interview), who passed away on November 24. We began with In the Houses of My Families, a part of Oliveros's 1998 electro-acoustic Ghostdance. This was followed by her 1959 electro-acoustic work Time Perspectives (Resident Advisor review). Next came Oliveros's 1982 Rattlesnake Mountain for accordion and voice. The show continued with Oliveros and American Voices's recording of Oliveros's 1991 In Memoriam Mr. Whitney (Steve Mobia review). And the show conluded with Oliveros's 1971-1997 Four Meditations for Orchestra (Pitchfork review, score), recorded by Oliveros, the poet Ione (who wrote the text for the piece) and Ensemble Musiques Nouvelle.
This was a show of 2016 releases that are cross cultural, either literally or figuratively. We began with guitarist Jason Vieaux (Wikipedia) and accordionist Julien Labro's recording of Vieaux's arrangement of Pat Metheny's (Wikipedia) c. 1991 Antonia, off Vieaux and Labro's album Infusion. This was followed by three pieces off poet Aidan Andrew Dun and pianist Lucie Rejchrtova's (PARMA Interview) album Honeyland: Ball, Black Passing and Insomnia. Next came Labro's arrangement of Radamés Gnattali's (Wikipedia) 1956-1957 Suite Retratos, recorded by Vieaux, Labro, Peter Dominguez on bass, and Jamey Haddad on percussion, and also off Infusion. The show continued with duoJalal's recording of Ljova's 2013 Shadow and Light for viola and percussion, off their album Shadow and Light: The Rumi Experience. This was followed by Trio Xia's recording of Marty Regan's 2004 Runaway Train, off the album Splash of Indigo. Next came saxophonist Allen Harrington and organist Lottie Enns-Braun's recording of Ton Verhiel's 1993 Partita Brève, off Harrington and Enns-Braun's album Vanishing Point. And the show concluded with duoJalal's recording of Shirish Korde's 2012 Joy, also off Shadow and Light.
This show of 2016 chamber music releases began with cellist Matt Haimovitz's recording of Vijay Iyer's (Wikipedia) 2015 Run, off Haimovitz's album Overtures to Bach. This was followed by Ken Thomson's (Bang on a Can) 2014 Restless (Broadway World), recorded by cellist Ashley Bathgate and pianist Karl Larson, and off the album Ken Thomson: Restless. Next came Chiara String Quartet's recording of Béla Bartók's (Boosey and Hawkes) 1934 String Quartet No. 5, off the album Bartók by Heart (Arts Fuse interview). The show continued with Allan Crossman's 2015 Florébius for violin and piano, recorded by Eusebius Duo, and off the album Between the Echoes. And it concluded with Haimovitz's recording of Roberto Sierra's 2015 La Memoria, also off Overtures to Bach.
This was our Annual Fundraising Week show, featuring a selection of the music played on Not Brahms and Liszt during the last year. As background music, we used Suzanne Ciani's (Wikipedia) Concert at WBAI Free Music Store. The show began with Ludovico Ensemble's recording of Marti Epstein's (Wikipedia, Berklee, Boston Globe) 2013 ...A Little Celestial Tenderness.... This was followed by Elmira Darvarova's recording of Norman Zocher's Rock Ethic. Next came Mimi Rabson's 2014 Strunk, recorded by her Strings Theory Trio. The show continued with Julia Wolfe's (Wikipedia, NPR on her Pulitzer, New Yorker on MacArthur Fellowship, Cantaloupe Music page) Breaker Boys, a movement of her 2014 Anthracite Fields (Bang on a Can page, NPR piece), recorded by Bang On a Can All-Stars and Choir Of Trinity Wall Street. This was followed by Nordic Affect's recording of María Huld Markan Sigfúsdóttir's 2013 Clockworking. Next came Joan La Barbara's 1979 Klee Alee for voice and multi-track tape, recorded by the composer. The show continued with Steve Reich's (Wikipedia, Bruce Duffie interview, The Guardian, Rebecca Y. Kim interview, CBC Radio audio interview) 1994 Nagoya Marimbas, recorded by Sean Connors and Peter Martin. This was followed by Eighth Blackbird's recording of Christopher Cerrone's 2014 South Catalina. And the show concluded with André Santos's 2015 A Skeleton in the Closet, recorded by João Vidinha-Duarte on flute, Salvador Parola on oboe and Cândido Fernandes on piano.
This show featured an in-studio interview with violinist Yevgeny Kutik (Wikipedia, violinist.com, New York Times), focusing on his new Marquis Classics release Words Fail. To set the stage, we began with Felix Mendelssohn's 1830 Songs Without Words: Op. 19, No. 1, recorded by Kutik and pianist John Novacek. This was followed by two pieces whose starting points were the motif at the beginning of the Mendelssohn, and that were commissioned for the album: Timo Andres's 2015 Words Fail, recorded with Andres on piano, followed by Michael Gandolfi's 2016 Arioso Doloroso/Estatico. After the interview, the show continued with Eighth Blackbird's recording of Andres's 2014 Checkered Shade. Next came Gandolfi's 2011 Winter Light, recorded by San Francisco Choral Artists and Alexander String Quartet. And the show concluded with Andres and David Kaplan's recording of two parts of Andres's 2010 Shy and Mighty: Antennae followed by an excerpt of The Night Jaunt.
Today's Halloween show featured full versions of some of the compositions featured on the soundtrack of Stanley Kubrick's 1980 film The Shining. We began with Krzysztof Penderecki's (Wikipedia, The Guardian) 1966 De Natura Sonoris No. 1, recorded by Warsaw Philharmonic Orchestra under the direction of Antoni Wit. This was followed by György Ligeti's (Alex Ross) 1967 Lontano, recorded by Vienna Philharmonic Orchestra under the direction of Claudio Abbado. Next came Béla Bartók's (Boosey and Hawkes) 1936 Music for Strings, Percussion and Celesta, recorded by Los Angeles Philharmonic under the direction of Esa-Pekka Salonen. The show continued with Penderecki's 1974 The Awakening of Jacob, recorded by Warsaw Philharmonic Orchestra, conducted by Wit. This was followed by Penderecki's 1962 Kanon, recorded by Polish National Radio Symphony Orchestra, conducted by Penderecki. Next came Penderecki's 1971 De Natura Sonoris No. 2, recorded by Polish National Radio Symphony Orchestra, conducted by Penderecki. And the show concluded with an exerpt of Penderecki's 1961 Polymorphia, recorded by AUKSO Chamber Orchestra of the City of Tychy under the direction of Penderecki.
This show of new vocal music began with Ensemble Vocal Luna's recording of Christina Rusnak's 2011 Dearly Beloved, off Ansonica Records's 2016 release Intersections. This was followed by three songs performed by saxophonist Trygve Seim (Wikipedia), mezzo-soprano Tora Augestad, accordianist Frode Haltli and violinist Svante Henryson, off ECM's 2016 release Rumi Songs: In Your Beauty, composed by Seim, Seeing Double, composed by Camille and Kabir Helminski and Lidia Saedian, and Across The Doorsill, composed by Seim. Next came Kuhn Choir's recording of Timothy Kramer's 2004 Lux Aeterna, off Navona Records's 2016 release Cadence: New Works for Voices in Verse. The show continued with three songs by folksinger, kantele player and composer Sinikka Langeland (Wikipedia) off ECM's 2016 release The Magical Forest, recorded by Sinikka Langeland Ensemble and Trio Mediaeval: Puun Loitsu ("Prayer to the Tree Goddess"), Sammas ("Same") and Jacob's Dream. This was followed by Joanne D. Carey's 1978 The Tyger, recorded by Vox Futura, and also off Cadence. Next came Heidi Jacob's 2014 Untouched by Morning and Untouched by Noon, recorded by baritone Brian Church, Alden Ortuño Cabezas on bass clarinet, Yasek Manzano Silva on trumpet, Marisel González Valdés on trombone, and Charles Abramovic on piano, and also off Intersections. This was followed by soprano Jennifer Bird and pianist Mutsumi Moteki's recording of David Kirtley's 2006 Haiku Songs of Karigane, also off Cadence. And the show concluded with an excerpt of Ensemble Vocal Luna's recording of Rusnak's 2016 Dearly Departed, also off Intersections.
This show began with a 2015 improvisation on piano by Sebastiano Meloni: Transparencies. Next came violinist Gil Shaham and pianist Orli Shaham's recording of Alberto Ginastera's (Boosey and Hawkes page) 1947 Pampeana No. 1, Op. 16, the first of three works off Oberlin Music's 2016 celebration of the centenary of Ginastera's birth. This was followed by two pieces by Ferdinando De Sena, his 2007 Lasting Virtue, recorded by Deirdre Viau on flute and Peter Sulski on viola, and his 2012 Eyes of Resurrection, recorded by Julia Okruska on violin and Molly McCaffrey on harp. The show continued with Jason Vieaux's recording of Ginastera's 1976 Sonata for Guitar, Op. 47, which was revised in 1981. This was followed by Radius Ensemble's recording of Elena Ruehr's 2015 Quetzal Garden for flute, string quartet and bass. Next came Ginastera's 1937 Danzas Argentinas, Op. 2 for piano, recorded by Shaham. And the show concluded with Radius Ensemble's recording of John Harbison's (Wikipedia) 2016 The Nine Rasas for clarinet, viola and piano.
This show featuring the music of Julia Wolfe (Wikipedia, NPR on her Pulitzer, New Yorker on MacArthur Fellowship, Cantaloupe Music page), winner of the 2015 Pulitzer Prize for Music and a 2016 MacArthur Fellow, began with Bang on a Can All-Stars and Trio Mediaeval's recording of Wolfe's Characteristics, which is part of her 2009 Steel Hammer (Cantaloupe Music page, WQXR review, New York Times review). Next came Wolfe's 2014 Anthracite Fields (Bang on a Can page, NPR piece), recorded by Bang On a Can All-Stars and Choir Of Trinity Wall Street. This was followed by Bang On a Can All-Stars's recording of Wolfe's 2002 Big Beautiful Dark and Scary. And the show concluded with Bang on a Can All-Stars and Trio Mediaeval's recording of one more part of Wolfe's Steel Hammer, Lord, Lord.
This show was a celebration of Steve Reich's (Wikipedia, Bruce Duffie interview, The Guardian, Rebecca Y. Kim interview, CBC Radio audio interview) 80th Birthday: October 3, 2016. We began with Reich's 1994 Nagoya Marimbas, performed by Sean Connors and Peter Martin. This was followed by Reich's 1974-76 Music for 18 Musicians (more information), recorded by Steve Reich and Musicians, and just reissued on ECM New Series. Next came Reich's 1978 Music for a Large Ensemble, also recorded by Steve Reich and Musicians and just reissued by ECM. And the show concluded with an excerpt of Part II of Reich's 1970-71 Drumming, performed by Steve Reich and Musicians.
This was a show of music for electronic instruments designed by Don Buchla (Wikipedia, Strange Attractor interview, New York Times obituary, KQED obituary), who passed away on September 14. Buchla photos: Modular Electronic Music System (Buchla 100); Suzanne Ciani working Bucha 200; Buchla Music Easel. Buchla videos: Phil Cirocco on Buchla 100; Kaitlyn Aurelia Smith on Buchla Music Easel; Smith demonstrating complex Buchla system. We began with Smith's (Fractured Air interview) Stunts, off her 2015 release Euclid. This was followed by Morton Subotnick's (Wikipedia) 1967 Silver Apples Of The Moon, the first electronic music composition to be commissioned by a record label (Nonesuch Records). Next came Suzanne Ciani's (Wikipedia) Concert at WBAI Free Music Store, off her 2016 release Buchla Concerts 1975 (Live). The show continued with David First's Pulse Piece, off his 2014 release Electronic Works 1976-1977. And it concluded with Charles Cohen's The Boy and the Snake Dance, off his 2015 release Brother I Prove You Wrong, followed by Alessandro Cortini's Strada, off his 2013 release Forse 2.
This show of music for percussion began with Steven Schick's recording of David Lang's (Wikipedia) 1991 The Anvil Chorus. This was followed by two recordings off Third Coast Percussion's 2013 release: Owen Clayton Condon's 2011 Fractalia, and Christopher Deane's 2003 Vespertine Formations. Next came Iannis Xenakis's (Wikipedia) 1978 Pléïades (Mode Records liner notes, Chandos liner notes), recorded by red fish blue fish and Schick. (Xenakis invented a new instrument to use in his composition — the microtonally-tuned sixxen.) The show continued with two pieces for solo marimba off Tomasz Arnold's 2011 release: Kazunori Miyake's 2001 Chain, and Joseph Schwantner's (Wikipedia) 1990 Velocities. And it concluded with an excerpt of Svet Stoyanov's c. 2005 Improvisation for Bulgarian Tapan (Bulgarian tapan, YouTube).
This show of 2016 releases began with pianist Cicilia Yudha's recording of Robert Casadesus's (Wikipedia) 1946 Toccata. This was followed by two pieces from 2015 by André Santos: A Skeleton in the Closet, recorded by João Vidinha-Duarte on flute, Salvador Parola on oboe and Cândido Fernandes on piano; and Word Study "Manipulation", recorded by Sergio Neves on clarinet, Carisa Marcelino on accordion and Miguel Vieira da Silva on guitar. Next came Scott Brickman's (UMFK) 2014 Ninety-Six Strings and Two Whistles, recorded by Eight Strings & a Whistle and pianist Beth Levin. The show continued with Santos's 2011 Lima, recorded by João Miguel on oboe, Fernandes on piano and Bruno Graça on clarinet, followed by Brickman's 2011 Wind Power, recorded by Suzanne Gilchrest (of Eight Strings & a Whistle) on flute and Levin on piano. Next came Arcadian Winds's recording of Daniel Burwasser's 2013 Whirlwind. This was followed by Eighth Blackbird's recording of Timo Andres's (Wikipedia) 2014 Checkered Shade. And the show concluded with Ferdinando De Sena's 2014 Deceptive Clarity, recorded by Deirdre Viau on flute and David William Ross on guitar.
This show of music by Ursula Mamlok (Official Website in German, Bruce Duffie interview, New York Times obituary, Alba Potes's remembrance, Continuum performs Mamlok review) began with pianist Holger Groschopp's recording of Mamlok's 1947 Molto Vivo ("very lively"). This was followed by Mamlok's 1956 Woodwind Quintet, recorded by Windscape. Next came Daedalus Quartet's recording of Mamlok's 1962 String Quartet No. 1. The show continued with Mamlok's 1969 Sintra, recorded by Claire Chase on alto flute and David Eggar on cello, followed by Mamlok's 1977 Sextet, recorded by Keith Underwood on flute, Robert Yamins on clarinet, Cyrus Stevens on violin, Dennis Smylie on bass clarinet, Donald Palma on base and Edmund Niemann on piano, conducted by Anthony Korf. Next came violinist David Bowlin's recording of Mamlok's 1987 Wild Flowers, followed by Mamlok's 1995 Polarities, recorded by Parnassus Ensemble, with Korf conducting. The show continued with Mamlok's 2009 Aphorisms II, recorded by Charles Neidich and Ayako Oshima on clarinet. And the show concluded with Mamlok's 2013-14 Above Clouds, recorded by violist Hartmut Rohde and Groschopp.
This show began with Michael Laurello's recording of his own 2012 Tell Hope Everything You Hear, off Ravello Records's 2016 release Rose. Next came Sonic.Art Saxophone Quartet's recording of Philip Glass's (Wikipedia) 1995 Saxophone Quartet. This was followed by Lawrence Ball's (Wikipedia) 2000 Energy Diamond, recorded by Althea Talbot-Howard on cor anglais, Jackie Norrie on violin, Amanda Chancellor on viola, and Dinah Beamish on cello, and off Navona Records's 2016 release Energy Diamond. The show continued with Sonic.Art's recording of Glass's 1985 String Quartet No. 3 "Mishima", arranged for Saxophone Quartet by Christoph Enzel (Liner Notes). This was followed by violist Neil Davis's recording of Ball's 1990 Viola Suite 2, also off his 2016 Energy Diamond. And the show concluded with Ferdinando De Sena's 2014 Spalding's Bounce, recorded by Philipp Staudlin on saxophone, Javier Caballero on cello, and Karolina Rojahn on piano, and off Navona's 2016 release Ferdinando De Sena: Spalding's Bounce and Other Chamber Works.
This show of chamber music began with Huw Watkins's (Wikipedia) 1998 Sonata for Cello and Eight Instruments, recorded by cellist Paul Watkins and Nash Ensemble. This was followed by Lindsay Quartet's recording of Michael Tippett's 1934-35 (revised 1943) String Quartet No. 1. Next came Chiara String Quartet's recording of Béla Bartók's 1939 String Quartet No. 6, off Chiara's 2016 release Bartók by Heart (Arts Fuse interview). And the show concluded with Alfred Schnittke's (Alex Ross article) 1963 Violin Sonata No. 1, recorded by violinist Roman Mints and pianist Katya Apekisheva, and off their 2016 release Alfred Schnittke: Works for Violin and Piano.
This show of summer-themed music began with pianist Donald Berman's recording of Scott Wheeler's (Piano Addict interview) 2007 The Fifth of July. This was followed by Elliott Miles McKinley's 2012 Three Portraits, recorded by SOLI Chamber Ensemble. Next came Eclipse Quartet and pianist Joanne Pearce Martin's recording of Gernot Wolfgang's 2008 New England Travelogue: I. Vineyard Reggae. The show continued with Baylor Woodwind Quintet's recording of Charles Rochester Young's 2000 3 Summer Evenings, followed by Carl Vollrath's 2012-2015 Piano Concerto No. 3 "Pastel III", recorded by pianist Karolina Rojahn and Moravian Philharmonic Orchestra, conducted by Petr Vronský. And the show concluded with oboist Katsuya Watanabe and pianist David Johnson's recording of Miguel del Aguila's 1988 Summer Song.
This show of music for piano began with Chris Brown's (Wikipedia) recording of his 2014 11-5-4-3, off his 2016 release 6Primes. This was followed by three pieces from 2005-2007 by Timo Andres (Wikipedia), recorded by Andres and David Kaplan on piano, and off Andres's 2010 release Shy and Mighty: Out of Shape, La Malinconia and How Can I Live In Your World of Ideas?. Next came Brown's recording of his 2014 13-6-5-4. The show continued with Huw Watkins's 2009 Three Auden Songs (W. H. Auden), recorded by tenor Mark Padmore and Watkins on piano: Brussels in Winter, Eyes Look Into the Well and At Last the Secret Is Out. Next came Brown's recording of his 2014 13-7-6-4, followed by Kathleen Supové's recording of Dan Becker's 2004 Revolution, which samples a speech by Martin Luther King, Jr. And the show concluded with Brown's recording of his 2014 13-11-8-6.
This show of electro-acoustic music began with Karlheinz Stockhausen's (Wikipedia) 1968 Spiral (Wikipedia) for shortwave receiver and soloist, recorded by Harald Bojé on electronium and piano. Next came Morton Subotnick's (Wikipedia, Tom Murphy interview) 1979 The Last Dream of the Beast, recorded by the composer on electronics and "ghost electronics", soparano Joan La Barbara and cellists Erika Duke and Dane Little. This was followed by Stockhausen's 1958-60 Kontakte (StockhausenSpace, Wikipedia) for four-channel tape and soloists, with James Avery on piano and Steven Schick on percussion. And the show concluded with Subotnick's 1999-2000 Gestures: It Starts with Colors, recorded by La Barbara.
This show of music by Steve Reich (Wikipedia, Bruce Duffie interview, The Guardian) began with his 1972 Clapping Music (Wikipedia, score, Classic FM interview), recorded by the composer and Russell Hartenberger. This was followed by Eighth Blackbird's recording of Reich's 2007 Double Sextet (Wikipedia, release notes). Next came Reich's 1986 Six Marimbas (Wikipedia), recorded by Bob Becker, Kory Grossman and Manhattan Marimba Quartet. The show continued with duo-pianists Edmund Niemann and Nurit Tilles's recording of Reich's 1967 Piano Phase (Wikipedia, visualization). And it concluded with Reich's 1973 Music for Mallet Instruments, Voices and Organ (Wikipedia), recorded by London Symphony Orchestra, with Michael Tilson Thomas conducting.
This show of electronic and electro-acoustic music began with Gene Pritsker's (Wikipedia) 2012 Modified No. 1, recorded by John Clark on French horn. This was followed by Laurie Spiegel's (Wikipedia) 1974 Appalachian Grove, off the 2012 reissue of her 1980 LP The Expanding Universe (The New Yorker). Next came Pritsker's 2012 Electrically Tragic, recorded by Martin Kuuskmann on electric bassoon. The show continued with pianist Kathleen Supové's (Wikipedia) recording of Randall Woolf's 2001 Sutra Sutra, with a text by Valeria Vasilevski, followed by Spiegel's 1974-76 Patchwork, also off The Expanding Universe. Next came Pritsker's 2012 Free Will Problem, recorded by Lynn Bechtold on violin, Keve Wilson on oboe and Matthias Kronsteiner's on bassoon. And the show concluded with Supové's recording of Anna Clyne's (Wikipedia) 2007 On Track.
This Independence (from genre boundaries!) Day show of jazz, rock and pop music pushing at the boundary of contemporary classical music began with two pieces by the Becca Stevens Band (New York Times): Weightless, off the 2011 release Weightless; and Off The Chart, off the 2008 release Tea Bye Sea. Next came three pieces by Laurie Anderson (Wikipedia): Time to Go, recorded with Scott Johnson on Guitar and Organ, off the 1977 release New Music for Electronic and Recorded Media: Women In Electronic Music - 1977; and O Superman (Anderson's Guardian Article) and Let X=X, off the 2007 release Big Science (PopMatters). This was followed by three pieces by John Cale and Lou Reed (Memorial) off their 1990 tribute to Andy Warhol, Songs for Drella (New York Times, New York Times): Work, Images and Forever Changed. The show continued with three pieces by the Patti Smith Group (Guardian): Wave, off the 1979 release Wave; and Elegie (co-written by Allen Lanier) and Birdland (co-written by Richard Sohl, Lenny Kaye (Wikipedia) and Ivan Kral (Wikipedia)), off the 1975 release Horses (BBC, Guardian), which was produced by Cale. This was followed by three pieces by Yoko Ono and the Plastic Ono Band off the 2009 release Between My Head and the Sky: The Sun Is Down!, Moving Mountains and Between My Head and the Sky. And the show concluded with three pieces by Björk (Wikipedia, New Yorker) off the 2011 release Biophilia (New York Times, The Atlantic): Crystalline, Sacrifice and Solstice (lyrics by Sjón).
This show began with Kronos Quartet's recording of Carlos Paredes's 1963 Canção Verdes Anos (Green Years's Song), which was written for guitar, but arranged for string quartet by Osvaldo Golijov. The guitar version was featured on the soundtrack of Paulo Rocha's 1963 film The Green Years. This was followed by Clarice Assad's (Wikipedia) 2015 Sephardic Suite, recorded by Cavatina (Flute and Guitar) Duo and Avalon String Quartet. Next came Kronos Quartet's recording of Aleksandra Vrebalov's (Wikipedia) 1997 Pannonia Boundless. The show continued with Dan Visconti's 2015 Native Tongues, recorded by Fifth House Ensemble and Baladino. This was followed by Alan Thomas's 2014 Trío Sefardí, recorded by Cavatina Duo and David Cunliffe on cello. Next came Paul Chihara's (Wikipedia) 2014 The Girl From Yerevan, recorded by David Starobin on guitar, Movses Pogossian on violin and Paul Coletti on viola. And the show concluded with Fifth House Ensemble and Baladino's recording of Part III (Driving) of Ken Benshoof's 1974 Traveling Music No. 4, which was originally written for string quartet.
This show of music by Michael Nyman (Wikipedia) began with Michael Nyman Band's recording of Nyman's 1982 The Disposition of the Linen, from the soundtrack of Peter Greenaway's 1982 film The Draughtman's Contract. This piece was based on Henry Purcell's song She Loves and She Confesses Too. Next came Nyman's 1993 Songs for Tony, recorded by Sonic Art Saxophone Quartet. This was followed by Nyman's 1991 Where the Bee Dances, recorded by saxophonist Amy Dickson and Royal Philharmonic Orchestra, conducted by Mikel Toms. The show continued with Nyman's 1997 Double Concerto for Saxophone and Cello, recorded by saxophonist John Harle, cellist Julian Lloyd Webber and Philharmonia Orchestra, conducted by Nyman. And it concluded with Balanescu Quartet's recording of Nyman's 1990 String Quartet No. 3.
This show of electronic music by female composers began with Johanna Beyer's 1938 Music of the Spheres, recorded by Donald Buchla and Brenda Hutchinson on electronics, Allen Strange, David Morse and Stephen Ruppenthal on synthesizers, and Charles Amirkhanian on triangle. Next came Daphne Oram's (Wikipedia) 1968 Four Aspects, followed by Pauline Oliveros's (Wikipedia) 1966 Jar Piece and Beatriz Ferreyra's (French) 1967 Demeures Aquatiques (Aquatic Homes). The show continued with two pieces by Annea Lockwood (Wikipedia), her 2013 Buoyant, and her 2012 Dusk. This was followed by Megan Roberts's 1976 I Could Sit Here All Day, recorded by Danny Sofer on drums, and Phil Loarie and William Novak on vocals. Next came Joan La Barbara's (Wikipedia) 1984 Time(d) Trials and Unscheduled Events. And the show concluded with Alice Shields's (Wikipedia) 1970 The Transformation Of Ani.
This show of choral music began with Zachary Wadsworth's 2013 Come to the Road, recorded by Luminous Voices. This was followed by three pieces by Ola Gjeilo: his 2014 Ubi Caritas, recorded by Gjeilo on piano and Voces8; his 2010 The Spheres, recorded by Tenebrae and Chamber Orchestra of London; and his 2011 The Ground, recorded by Tenebrae, Gjeilo on piano and Chamber Orchestra of London. Next came Luminous Voices, tenor Lawrence Wiliford and Luminous Voices Chamber Orchestra's recording of Wadsworth's 2014 The Far West. The show continued with Lou Harrison's 1955 Strict Songs, recorded by Louisville Orchestra, soloist Davis Bingham and Southern Baptist Theological Seminary Choir, conducted by Robert Whitney. And it concluded with Terry Riley's 1990 Cry of a Lady, recorded by Kronos Quartet and Bulgarian State Radio and Television Female Vocal Choir.
This show began with trumpeter James Zingara's recording of William Price's 2010 Sans Titre VII (Untitled VII). This was followed by John Adams's (Wikipedia) 2009 City Noir, recorded by St. Louis Symphony with David Robertson conducting. Next came Nico Muhly's 2010 Drones and Piano for piano and tape, recorded by pianist Bruce Brubaker. The show continued with UAB Chamber Trio's recording of Price's 2013 Ich Bin Maroon, Part 1 for clarinet (Denise Gainey), trumpet (Zingara), and piano (Christopher Steele). And it concluded with Muhly's 2011 Drones and Viola, recorded by Nadia Sirota on viola and Brubaker on piano.
This show of musical settings of political writings and speech began with Kronos Quartet's recording of Michael Daugherty's 1992 Sing Sing: J. Edgar Hoover, featuring the voice of the infamous FBI director. This was followed by Frederic Rzewski's 1972 Coming Together, recorded by Alter Ego and rapper Frankie hi-nrg. The text for this piece came from letters by Attica prisoner Sam Melville, who led and died in the 1971 prison uprising. Next came Rzewski's 1992 De Profundis for piano and spoken voice, recorded by the composer. The text for this piece is excerpted from a letter written by Oscar Wilde near the end of his two year imprisonment in Reading Gaol for homosexual acts. The show continued with Kronos Quartet's recording of Scott Johnson's 1991-3 Cold War Suite from How It Happens, featuring the voice of investigative journalist I. F. Stone. And it concluded with Rzewski's 1972 Attica, recorded by the composer and Alter Ego. This piece's text is a statement made by prison revolt leader Richard X. Clark upon his 1972 release from the Attica.
The show began with JACK Quartet's recording of Felipe Lara's 2008 Second String Quartet Tran(slate). This was followed by Pierre Boulez's 1981-84 composition Répons (Response) for chamber orchestra with six percussion soloists and live electronics, recorded by Ensemble InterContemporain with the composer conducting. Next came Jonathan Harvey's 2004 composition String Trio, recorded by violist Ralf Ehlers, cellist Lucas Fels and violinist Irvine Arditti, members of Arditti Quartet. And the show concluded with JACK Quartet's recording of Jorge Villavicencio Grossmann's 2009 composition String Quartet No. 3 — Música Fúnebre y Nocturna (Funeral and Night Music).
This show of American music began with St. Helens String Quartet's recording of Janice Giteck's 2004 composition Where Can One Live Safely, Then? In Surrender. This was followed by Mark Louis Lehman's 1988 composition Three Primitives for Alto and Baritone Saxophone, recorded by Om Srivastava and Ryan Van Scoyk. Next came Peter Schickele's 1983 String Quartet No. 1 "American Dreams", recorded by St. Helens String Quartet, followed by Kris Frankenfeld, Larrie Howard and Elizabeth Steva's recording of Rick Sowash's 1989 composition Suite for Three Violins. The show continued with Eric Moe's 2006 composition All Sensation is Already Memory, recorded by flutist Tara Helen O'Connor and pianist Margaret Kampmeier, for whom it was written. And it concluded with violinist Stephen Bryant (violinist of St. Helens String Quartet) and pianist Lisa Bergman's recording of Ken Benshoof's 2005 composition 6 Diversions.
The show began with Richard Carrick's 2013 composition Sub-merge, recorded by the composer on piano and DZ4 Wind Quartet. Next came Gernot Wolfgang's 2013 composition String Theory, recorded by New Hollywood String Quartet, followed by Eighth Blackbird's recording of Andrew Norman's 2015 composition Mine, Mime, Meme. The show continued with String Orchestra of Brooklyn and Toomai String Quintet's recording of Carrick's 2013 composition Adagios for String Orchestra, followed by Eighth Blackbird's recording of Christopher Cerrone's 2014 composition South Catalina. Next came oboist Jennifer Johnson and bassoonist Judith Farmer's recording of Wolfgang's 2011 composition Passing Through, followed by Either/Or's recording of Carrick's 2013 composition The Veins of Marble. And the show concluded with Farmer and pianist Nic Gerpe's recording of Wolfgang's 2011 composition Flurry.
This show of vocal music began with Skylark Vocal Ensemble's recording of Daniel Elder's 2013 composition Elegy, which was inspired by the Taps bugle call and whose text by Horace Lorenzo Trim was written to accompany Taps. This was off Skylark's 2016 release Crossing Over, featuring choral works that "depict the dream state at the end of life". Next came soprano Caroline MacPhie and pianist Joseph Middleton's recording of Muriel Herbert's (Guardian) songs To Daffodils (from 1916, with its text by Robert Herrick), The Lost Nightingale (from 1939, with its text by Alcuin, translated by Helen Waddell), Renouncement (from 1923, with its text by Alice Meynell) and Cradle Song (from 1922, with its text by A. C. Swinburne). These songs are off MacPhie and Middleton's 2015 release Love Said to Me. This was followed by Cheryl Frances-Hoad's 2005 composition The Glory Tree, recorded by the Kreisler Ensemble. The Glory Tree is inspired by Shamanic rituals and is set to the text of Old English poems, including Dream of the Rood and Judith. The show continued with Skylark's recording of William Schuman's 1958 composition Carols of Death, with texts by Walt Whitman. There are three movements: The Last Invocation, The Unknown Region and To All, To Each. This was followed by MacPhie and Middleton's recording of Frances-Hoad's 2014 composition 2 Shakespeare Songs, with texts by Ian McMillan. Next came Skylark's recording of John Tavener's (Wikipedia) 2003 composition Butterfly Dreams. The show continued with three songs written by Ruth Lomon (Wikipedia, Brandeis, Bruce Duffie) in 1996, off her 2002 reflection on the Holocaust, Songs of Remembrance: Chor der Waisen (Chorus of the Orphans), with a text by Nelly Sachs, who fled Germany in 1940, recorded by soprano Jayne West, tenor Frank Kelley and oboist Laura Ahlbeck; Mes Yeux (My Eyes), with a text by Berthe Wizenberg Fleischer, who survived the occupation of France hidden in an orphanage, recorded by mezzo soprano Pamela Dellal and pianist Donald Berman; and Love Poem, with a text by Auschwitz survivor Charlotte Delbo, recorded by Dellal, Berman and Ahlbeck. And the show concluded with an excerpt of MacPhie and Middleton's recording of Rhian Samuel's 2013 composition The Gaze, whose text is from Hamlet.
This show of electronic and electro-acoustic music began with Daphne Oram (Wikipedia) and Andrea Parker's 2011 piece Women's Hour. This is off Parker's 2012 CD Private Dreams and Public Nightmares, consisting of her reworkings of material from electronic music pioneer Oram's musical archive. This was followed by Iannis Xenakis's 1991 computer music composition Gendy3. Next came Region IV of Karlheinz Stockhausen's 1967 composition Hymnen for electronics, tape and soloists, in a 1969 recording by Harald Bojé (electronium), Johannes Fritsch (electric viola), Alfred Alings and Rolf Gehlhaar (tam-tam), Aloys Kontarsky (piano) and the composer (live electronics). The show continued with Oram and Parker's 2011 composition Trepidation, followed by Xenakis's 1987 electro-acoustic composition Taurhiphanie. And the show concluded with Oram and Parker's 2011 composition Ghost Hamlet.
This was a show of music at the boundary of composition and improvisation, and at the intersection of classical music and jazz. We began with Lucian Ban's (Wikipedia) 2014 composition Irreverence, performed by Albrecht Maurer on violin, Mat Maneri on viola, and Ban on piano, and off their 2015 CD Fantasm. This was followed by Grupo de Musica Folklorica del Peru's recording of Joseph Celli's 1990 composition Andes, off his 1995 release Video Ears Music Eyes. The pieces on this CD were written to accompany multi-channel video presentations. Next came Maurer's 2013 composition Whatever Met My Ear, recorded by Maurer and flutist Norbert Rodenkirchen, off their 2014 release Loplop's Call, followed by Ban's 2014 composition Twin Rivers, off Fantasm. Loplop is a birdlike character featuring in the work of the artist Max Ernst. The show continued with Celli's 1992 composition 36 Strings, recorded by Jin Hi Kim on geomungo, and off Video Ears Music Eyes. This was followed by Rodenkirchen's 2013 composition Helpless Flames, off Loplop's Call, and then Paul Motian's 2014 composition Fantasm off the CD of the same name. And the show concluded with Celli's 1988 multi-track composition Violin and Video, recorded by Malcolm Goldstein, and off Video Ears Music Eyes.
This show featured work by two Boston-area composers. We began with Ruth Lomon's (Wikipedia, Brandeis, Bruce Duffie) 2000 composition Tributary, recorded by Jesse Begelfer, Jill Dreeben and Emily Krainer on flute. Next came the Ludovico Ensemble's recording of Marti Epstein's (Wikipedia, Berklee, Boston Globe) 2009 composition Hypnagogia, for clarinet, oboe, violin, cello, harp, piano and cimbalom. The show continued with Lomon's 1989 composition The Butterfly Effect, recorded by the Lydian String Quartet, followed by her 2009 composition Weavings, recorded by James Shields (clarinet/bass clarinet), Sally Guenther (cello), David Tolen (vibraphone/tom-toms) and Madeline Williamson (piano). And the show concluded with the Ludovico Ensemble's recording of Epstein's 2013 composition ...A Little Celestial Tenderness....
We celebrated the work of British composer and conductor Peter Maxwell Davies (Guardian obituary, Wikipedia), who passed away last week at the age of 81. Davies was born in Salford, educated in Manchester, and moved to (the) Orkney (islands) in 1971. He died at his home on the remote island of Sanday, where he had lived since the late 1990s. The show began with pianist Richard Casey's recording of Davies's 1978 composition Stevie's Ferry to Hoy (an island of Orkney). This was followed by Davies's 2003 composition Naxos Quartet No. 3, performed by the Maggini Quartet. Next came the London Symphony Orchestra's recording of Davies's 2013 composition Symphony No. 10, Op. 327 "Alla Ricerca di Borromini" ("Finding Borromini"), with Antonio Pappano conducting. And the show concluded with one more recording by Casey of one of Davies's works for piano: Farewell to Stromness (a town of Orkney), which was written in 1980.
The show began with William Price's 2005 composition Hook, Line and Sinker, recorded by Christopher Ayer on clarinet, Brian Utley on saxophone and Kae Hosoda-Ayer on piano. Next came three pieces by pianist Anthony de Mare from his Liaisons Project, in which 36 contemporary composers were invited to choose a song by Stephen Sondheim and re-imagine it as a solo piano piece. We listened to Steve Reich's take on Finishing the Hat, Nico Muhly's adapatation of Color and Light, and Gabriel Kahane's re-imagining of Being Alive. This was followed by Utley and Hosada-Ayer's recording of Perry Goldstein's 2006 composition Sonata for Soprano Saxophone and Piano. The show continued with Paul Hindemith's 1930 composition 7 Pieces for 3 Trautoniums, recorded by Oskar Sala on trautonium. This was followed by the Arditti String Quartet's recording of Henri Dutilleux's 1976 String Quartet "Ainsi la nuit". And the show concluded with an excerpt from Sala's recording of his own 1978 composition Electronic Impressions, No. 5 for trautonium.
This program of orchestral music began with Stacy Garrop's 2001 composition Shadow, recorded by the CCPA Chamber Orchestra with Markand Thakar conducting, and from Garrop's 2015 CD. This was followed by the Chicago Symphony Orchestra's recording of Béla Bartók's 1943 Concerto for Orchestra, conducted by Georg Solti. Next came two pieces by Rain Worthington off her 2016 CD: her 2004 composition Shredding Glass, recorded by the Czech Philharmonic Orchestra with Robert Ian Winstin conducting, and her 2012 composition Reversing Mirrors in the Quiet, recorded by the Moravian Philharmonic Orchestra with Petr Vronsky conducting. The show continued with Garrop's 1999 composition Thunderwalker, also off her 2015 CD featuring the CCPA Chamber Orchestra with Markand Thakar conducting. And it concluded with another piece by Worthington off her 2016 CD, recorded by the Moravian Philharmonic Orchestra with Petr Vronsky conducting: her 2013 composition Fast Through Dark Winds.
The show began with the Spektral Quartet's recording of Sky Macklay's 2014 composition Many Many Cadences, which was commisioned for the quartet. This and two additional recordings by Spektral Quartet are off their 2016 release, Serious Business. This was followed by Mimi Rabson's compositions Strunk and E Ascending off her Strings Theory Trio's 2014 self-titled CD. Strings Theory Trio consists of Rabson and Helen Sherrah-Davies on five string violin, and Junko Fujiwara on cello; their music is improvised within the boundaries of a score. Next came collectif9's recording of Geof Holbrook's composition Volksmobiles, off their 2016 release of the same name; the composition was commisioned by collectif9. The show continued with Spektral Quartet's recording of David Reminick's 2014 composition The Ancestral Mousetrap for string quartet and vocalists (the quartet members themselves!), with a text by poet Russell Edson, from his 1994 book Poems from the Tunnel: Selected Poems of Russell Edson. This composition was commissioned by Spektral Quartet. This was followed by Strings Theory Trio's recording of Mimi Rabson's composition String Trio No. 1, also off their 2014 CD. And the show concluded with Chris Fisher-Lochhead's 2015 composition Hack, performed by Spektral Quartet, for whom it was commisioned.
In this show celebrating the work of composer Terry Riley (Wikipedia article), who is 80 this year, we began with the ZOFO (ZO = 20, FO = Finger Orchestra) four-hand piano duet's 2015 recording of Riley's 1985 composition Half-Wolf Dances Mad in Moonlight, in an arragement by ZOFO member Keisuke Nakagoshi. ZOFO's other member is Eva-Maria Zimmermann. This was followed by Riley's 1964 composition In C, in a 1968 recording by Riley and Members of the Creative and Performing Arts at SUNY-Buffalo, remastered in 2009. Next came ZOFO's 2015 recording of Riley's 1980 composition G Song (additional), arranged by Nakagoshi. The show continued with Riley's 1968 A Rainbow In Curved Air, realized by the composer through extensive overdubbing, with Riley playing electric organ, electric harpsichord, dumbec (goblet drum) and tambourine. And it concluded with ZOFO's 2015 recording of Riley's 1994 composition Jaztine. The Guardian's Guide to Terry Riley's Music.
This was a program of music by Steve Reich. We started with his 1994 composition Nagoya Marimbas for two marimbas, performed by Sean Connors and Peter Martin of Third Coast Percussion. This was followed by a recording of his 1981 composition Tehillim for voices and orchestra, based on Psalms 19, 34, 18 and 150, performed by Ossia, with Alan Pierson conducting. Next came Third Coast Percussion's performance of Reich's 2009 Mallet Quartet for two marimbas and two vibraphones. The show continued with Reich's 1987 composition Electric Counterpoint for guitar and taped guitar, performed by Pat Metheny. This was followed by Matthew Duvall and Third Coast Percussion's performance of Reich's 1973 composition Music for Pieces of Wood for five pairs of tuned claves. And the show concluded with an excerpt of Part IV of Reich's 1970-71 composition Drumming for 4 pairs of tuned bongo drums, 3 marimbas, 3 glockenspiels, 2 female voices, whistling and piccolo, performed by Steve Reich and Musicians.
The show began with Joan La Barbara's 1979 composition ShadowSong for voice and multi-track tape, performed by the composer. This was followed by Region III of Karlheinz Stockhausen's 1967 composition Hymnen for electronics, tape and soloists, in a 1969 recording by Harald Bojé (electronium), Johannes Fritsch (electric viola), Alfred Alings and Rolf Gehlhaar (tam-tam), Aloys Kontarsky (piano) and the composer (live electronics). Next came the Arditti Quartet's recording of Jonathan Harvey's 2003 String Quartet No. 4 (with Live Electronics), with Gilbert Nouno realizing the electronics. The show continued with La Barbara's 1979 composition Klee Alee for voice and multi-track tape, performed by the composer, and it concluded with an excerpt from La Barbara's 1980 composition Erin for voice and multi-track tape, also performed by the composer.
We began with Michael Tippett's 1946 composition Little Music for String Orchestra, performed by the Academy of St. Martin in the Fields with Neville Marriner conducting. This was followed by Elliott Carter's 1965 Piano Concerto, recorded by pianist Ursula Oppens and the Cincinnati Symphony Orchestra, conducted by Michael Gielen. There is an American Mavericks interview with Carter. Next came the Lindsay String Quartet's recording of Tippett's 1978 String Quartet No. 4. The show continued with Carter's 1971 String Quartet No. 3, performed by the Pacifica Quartet. And the show concluded with an excerpt of Tippett's 1952 composition Ritual Dances (From "The Midsummer Marriage"), recorded by the Orchestra of the Royal Opera House, Covent Garden, with John Pritchard conducting.
We began with Cheryl Frances-Hoad's 2010 composition Invocation, performed by cellist Leonid Gorokhov and Michael Petrov, Steffan Morris, Irene Enzlin, Sebastian Kolin, Andrew Power, Rosie Stoner and Rodrigo Moro Martín. This was followed by the International Contemporary Ensemble's recording of Anna Thorvaldsdottir's 2014 composition In the Light of Air. We continued with María Huld Markan Sigfúsdóttir's 2010 composition Sleeping Pendulum, performed by Nordic Affect. Next came the London Mozart Trio's recording of Frances-Hoad's 2012 composition Melancholia. This was followed by Thorvaldsdottir's 2012 work Shades Of Silence, performed by Nordic Affect. The show concluded with Sigfúsdóttir's 2013 composition Clockworking, recorded by Nordic Affect.
We celebrated the work of composer Pierre Boulez, who died last week at the age of 90. The show began with Boulez's 1984 composition Dérive 1 ("derivative", additional information), performed by Ensemble InterContemporain with Boulez conducting. Next came Paavali Jumppanen's recording of Boulez's 1948 composition Piano Sonata No. 2. This was followed by Boulez's 1997 composition Anthèmes 2 Pour Violon et Dispositif Électronique ("for violin and electronics", title combines "anthem" and "theme", additional information), performed by violinist Hae-Sun Kang, with Boulez's collaborator Andrew Gerzso controlling the electronics. There is a Scientific American article by Boulez and Gerzso on Computers in Music. The show continued with Boulez's 1985 composition Memoriale (... Explosante Fixe.... Originel) (additional information, Explosante Fixe), performed by Ensemble InterContemporain and flutist Sophie Cherrier, and conducted by Boulez. This was followed by clarinettist Alain Damiens's performance of Boulez's 1969 composition Domaines ("areas", additional information). The show concluded with pianist Hideki Nagano's performance of Boulez's 2005 composition Une Page d'Éphéméride ("a page of ephemeris"). Bruce Duffie's interviews of Boulez.
The show began with Aaron Copland's 1924 composition Prelude for Piano Trio, performed by cellist Wilhelmina Smith, violinist Nicholas Kitchen, and pianist Michael Boriskin. Next came the Amar Quartet's recording of Paul Hindemith's 1945 composition String Quartet No. 7 in E-flat Major. This was followed by Copland's 1937 composition Sextet for String Quartet, Clarinet and Piano, performed by Boriskin on piano, clarinettist Derek Bermel and the Borromeo String Quartet. The show continued with the Wiener Oktett's (Vienna Octet) 1964 recording of Hindemith's 1958 composition Octet for Clarinet, Bassoon, Horn, Violin, Two Violas, Cello and Double Bass. Next came Copland's 1971 composition Duo for Flute and Piano, performed by flutist Paul Dunkel and Boriskin on piano. And the show concluded with the original 1934 recording of Hindemith's Scherzo for Viola and Cello, with the composer on viola and Emanuel Feuermann on cello.
The show began with Alan Beeler's 1986 composition Homage to Roger Sessions, performed by the Czech Radio Symphony Orchestra with Vladimír Válek conducting. Next came David Crumb's 2006-2011 composition Red Desert Triptych performed by pianist Marcantonio Barone. This was followed by piano duo Quattro Mani's recording of Paul Lansky's 2005 composition It All Adds Up. There's a New York Times profile on Lansky. The show continued with Judith Lang Zaimont's 1989 composition Piano Trio No. 1 "Russian Summer", performed by violinist Peter Winograd, cellist Peter Wyrick and pianist Joanne Polk. The show concluded with Alan Beeler's 2007 composition Marimba Concerto No. 2 "Da Chiesa" (Church), performed by Ladislav Bilan and the Moravian Philharmonic Orchestra.
We began with Steven Scher's 1988 composition Brechtstimme, performed by the marimba/violin duo Marimolin, off their 1996 album Phantasmata. Marimolin consisted of marimbist Nancy Zeltsman and violinist Sharan Leventhal. This was followed by Steve Reich's 1984 piece Sextet for percussion and keyboards, peformed by Steve Reich and Musicians. Next came Igor Stravinsky's 1913 composition The Rite of Spring, peformed by the London Symphony Orchestra with Robert Craft conducting. The show concluded with two more pieces off Marimolin's Phantasmata CD: Karl Kohn's 1985 composition Cantilena II, and Daniel Levitan's 1987 composition Duo for Violin and Marimba.
This was a show of electro-acoustic compositions. We began with Luciano Berio's 1959 tape composition Thema (Omaggio a Joyce), in which a reading by Cathy Berberian from James Joyce's Ulysses is manipulated electronically. This was followed by Morton Subotnick's 1986 work Jacob's Room for voice, cello and electronics, drawing on the novel by Virginia Woolf, Plato's Phaedrus, and Nicholas Gage's Eleni, and performed by soprano Joan La Barbara and cellist Erika Duke. Next came Region II of Karlheinz Stockhausen's 1967 composition Hymnen for tape and live soloists, performed by Aloys Kontarsky, Alfred Alings, Rolf Gehlhaar, Johannes Fritsch, Harald Bojé and the composer. And the show concluded with Milton Babbitt's 1964 composition Philomel for voice, recorded voice and electronics, with a libretto by John Hollander based on Ovid's myth of Philomela, and performed by soprano Bethany Beardslee.
The show began with a 2006 recording of Gene Pritsker's Clarinet Quintet: "Falls to with an Appetite", peformed by the Lumina String Quartet with clarinettist Phillip Bashor. This was followed by Amjad Ali Khan's composition Rivers of Bliss, performed by Amaan Ali Khan on sarod, Elmira Darvarova on violin, and Tanmoy Bose on tabla. This was off the 2015 release Soul Strings, a collaboration between Khan's sons, Amaan Ali and Ayaan Ali, and Western classical violinist Darvarova. Next came two performances by the Kronos Quartet off their 1992 album Pieces of Africa: Escalay ("Waterwheel"), composed by Hamza El Din, and Wawshishijay ("Our Beginning"), composed by Obo Addy. This was followed by Elmira Darvarova's performance of Norman Zocher's composition Rock Ethic, off the Soul Strings collaboration. The show continued with Lester Trimble's composition 4 Fragments from the Canterbury Tales, in a 2015 performance by soprano Melissa Fogarty, Kaoru Hinata on flute, Christopher Cullen on clarinet, and Jennifer Griesbach on harpsichord. The show concluded with guitarist David Starobin and violinist Amalia Hall's 2015 recording of Schrödinger's Cat, composed by Poul Ruders.
The show started with Michael Tippett's 1971 composition Fanfare for Brass, performed by the Philip Jones Brass Ensemble. Next came Tippett's 1946 composition String Quartet No. 3, performed by the Lindsay String Quartet. This was followed by Elliott Carter's 1959 composition String Quartet No. 2, performed by the Pacifica Quartet. There is an American Mavericks interview with Carter. We then heard Iannis Xenakis's 1989 composition Rebonds, performed by percussionist Steven Schick. The show concluded with Iannis Xenakis's 1989 composition Okho, performed by red fish blue fish and Steven Schick.
The show started with clarinettist Catriana Scott's performance of Cheryl Frances-Hoad's 2008 composition Bouleumata (ability to deliberate). Continuing with Frances-Hoad's music, we next heard her 2007 work The Ogre Lover, performed by the Lendvai String Trio. This was followed by Dmitri Shostakovich's 1948 composition Violin Concerto No. 1 In A Minor, performed by Ilya Kaler and the Polish National Radio Symphony Orchestra, conducted by Antoni Wit. Next came cellist Michael Nicolas's performance of Anna Thorvaldsdottir's 2014 composition Transitions. The show concluded with the Chelsea Symphony's performance of David Cheskey's 2015 composition Arbeit Macht Frei, conducted by Yaniv Segal, off the new release Joy and Sorrow.
This was fundraising week on WMBR. The show used Steve Reich's 1971 composition Drumming as its bed music. We began with two tracks off the Kronos Quartet's 1992 album Pieces of Africa: Mai Nozipo (Mother Nozipo), composed by Dumisani Maraire, and Ekitundu Ekisooka (First Movement), composed by Justinian Tamasuza. Next came two tracks off the soundtrack to Godfrey Reggio's 1982 film Koyaanisqatsi, which was composed and directed by Phillip Glass: Organic and Clouds. This was followed by recordings by the Chelsea Symphony of two compositions by David Cheskey off the new release Joy and Sorrow: Dora's Dance and Betty's March. Then came two tracks from the soundtrack of Peter Greenaway's 1991 film Prospero's Books, composed by Michael Nyman and performed by the Michael Nyman Band: Prospero's Magic and Miranda. This was followed by recordings of two compositions by Julia Wolfe, from the new release Anthracite Fields, performed by Mark Stewart, Choir of Trinity Wall Street, Bang on a Can All-Stars and Julian Wachner: Speech and Flowers. The show concluded with Don Plonsey's Stay Fresh Baggies 4, off the new release Killer Tuba Songs, Vol. 2: Naked Singularity.
This was a show of new releases on the Bridge Records label. We began with Roger Sessions's 1930 composition Waltz for Brenda, performed by pianist David Holzman. This was followed by Stefan Wolpe's 1949 composition Sonata for Violin and Piano, performed by violinist Movses Pogossian and pianist Susan Grace. Next came Sessions's 1953 composition Sonata for Violin, peformed by David Bowlin. The show continued with Wolpe's composition Two Studies for Two Violins and Piano, performed by Pogossian, Grace and violinist Varty Manouelian. We concluded with Sessions's 1942 composition Duo, performed by Holzman and Bowlin.
We started with singer and composer Joan La Barbara's 1990 recording of John Cage's song Forever and Sunsmell, which takes its text from the E. E. Cummings poem. Next came Cage's 1950 composition String Quartet in Four Parts, recorded by the LaSalle Quartet. This was followed by Cage's 1976 composition Apartment House 1776, performed by the New England Conservatory Philharmonia. It was commissioned for the United States Bicentennial. Next came Jeanne Kirstein's performance of Cage's 1944 composition for prepared piano, The Perilous Night. The show concluded with La Barbara's vocal composition Berliner Träume — Berlin Dreams — realized by the composer in 1983. Bruce Duffie conducted excellent interviews of John Cage and Joan La Barbara.
We started with two songs — Sofa No. 2 and Idiot Bastard Son — by Frank Zappa, arranged for tuba and played by Jay Rozen, off Rozen's 2015 CD Killer Tuba Songs, Vol. 2: Naked Singularity. This was followed by Morton Subotnick's 1968 electronic music composition The Wild Bull, motivated by an ancient Sumerian poem of mourning. We then heard Steve Reich's 1988 composition for string quartet and tape, Different Trains, played by the Kronos String Quartet. This composition is Reich's reflection on the Holocaust, and the tape features the voices of Holocaust survivors. Next came two electronic pieces by Zappa, realized by the composer in 1984: Love Story and Outside Now Again. The show concluded with two pieces by the Zentripetal [Violin/Cello] Duo. The first was Heitor Villa-Lobos's 1928 composition Deux Choros (bis). The second was Gene Pritsker's Clubbin'.
We started with an excerpt from Michael Nyman's The Draughtman's Contract, which was part of the soundtrack for the Peter Greenaway film of the same name. Next came Region I of Karlheinz Stockhausen's work of electronic and concrete music, Hymnen. We heard the 1969 recording in which the four channel tape was accompanied by live instrumentalists. Then we returned to Nyman, playing an excerpt from his chamber opera The Man Who Mistook His Wife for a Hat, based on the Oliver Sacks neurological case study. Finally, we played an excerpt from Stockhausen's 1968 composition Stimmung.