Author Archives: Matthew Guerrieri

Sounds Heard: Meredith Monk—Piano Songs

Meredith Monk: Piano Songs album cover

Meredith Monk: Piano Songs, a new compilation performed by Ursula Oppens and Bruce Brubaker, features music that finds expressive possibilities in the act of moderating between extremes. Old and new, traditional and experimental, memory and transformation–within all those competing forces, Monk’s music seems to hover at a point of balance.

Boston: Practice Sessions

Robert Spano led the Boston Symphony and Jonathan Biss in the world premiere of a new Bernard Rands piece on 4.3.14 (Stu Rosner)3

Keeril Makan’s Letting Time Circle Through Us and Bernard Rands’s Concerto for Piano and Orchestra (with pianist Jonathan Biss) premiered in Boston.

New England’s Prospect: Beyond the Sea

Matthew Ritchie's Monstrance/Remonstrance

Matthew Ritchie, currently in the midst of an 18-month stint as the Institute of Contemporary Art/Boston’s artist-in-residence, presented his collaborative piece Monstrance/Remonstrance with an impressive group of collaborators including Shara Worden, Bryce Dessner, Evan Ziporyn, and David Sheppard.

New England’s Prospect: The Gift of Sound and Vision

Robert A. A. Lowe

Multimedia is a provocative tool to combat conformity, but hardly a foolproof one. Filmmaker/sound artist Ben Russell and musician Robert A. A. Lowe (a.k.a. Lichens) presented a joint show at Cambridge’s Middlesex Lounge, and that tension in the multimedia concept proved to be a running theme.

New England’s Prospect: Three World Premieres in Wildly Disparate Styles

BMOP Intermission

Boston Modern Orchestra Project never seems to run out of juice. It fills a need. It mounts concerts that manage to be both one-stop shopping for the merely curious and essential for professionals. The “modern” in the name has always been as much stylistic as calendrical, but its concert at Jordan Hall on January 17 was aggressively new: three world premieres in wildly disparate styles.

New England’s Prospect: Fellow Travelers

5th Floor Collective

“Come, then, into the music room,” she said, and I followed her into an apartment finished, without hangings, in wood, with a floor of polished wood. I was prepared for new devices in musical instruments, but I saw nothing in the room which by any stretch of imagination could be conceived as such. It was […]

New England’s Prospect: May All Your Christmases Be Weird

A price tage at Weirdo Records

Thank baby Jesus for Weirdo Records. And not just for the Monday concert series (called, unsentimentally, “The Series on Mondays”), although the December 16 installment was the occasion for this particular redemption. An unusually paltry three-person audience—Sawyer, Michael Rosenstein (another Boston-area modular synth guru), and an interloper, me—was transformed by the tight quarters into something respectable; the music made its own multitude.