As a singer and instrumentalist who has worked in at least a dozen different musical genres, Caleb Burhans has always been drawn to the inner voices preferring to, as he puts it, “play second violin or viola than first fiddle.” This attraction spills over into his own deceptively simple, extremely meticulous musical compositions.
While Jacqueline Humbert and David Rosenboom’s Daytime Viewing is a by-product of that brief window in the late 1970s and early 1980s when a fusion of experimental music and New Wave created numerous uncategorizable hybrids, it is also very much a harbinger of our own much longer-lasting “indie-classical” zeitgeist.
If there were a music version of “Six Degrees of Kevin Bacon,” it could very well be “Six Degrees of Carman Moore” since Moore—in a career spanning decades—connects to everyone from Pierre Boulez and Karlheinz Stockhausen to John Lennon and Aretha Franklin. And yet, many people are unaware of Moore, even within the contemporary music community.
During the heyday of the laterna, an early mechanical musical instrument popular in Greece in the late 19th and early 20th centuries, playing instrumental music and singing were gradually being supplanted by gramophones and radios in most households. It was the beginning of on-demand home listening and drastically reduced the amount of amateur at-home music making.
A couple of months ago, I came across a new disc devoted to Christine Southworth’s music with an immediately identifiable title, String Quartets. But after hearing the truly new sound world she created in her earlier disc—called Zap! Music for Van de Graaff Generator, Tesla Coils, Instruments & Voices—I was quite sure she’d create something totally unusual despite using the most popular instrumental combination in all of chamber music. She did not disappoint!