Questions of “real” or “fake” are dialectically put aside on the Boston Modern Orchestra Project’s new recording of music by Anthony De Ritis, music in which, in a way, everything is real and fake all at the same time. Or, more precisely: this is music which is constantly, enthusiastically directing your attention to the materials out of which it’s fashioned.
There’s a tension between the natural world songbirdsongs is meant to evoke and the artificial means of the evocation that gives the music an interesting texture. Lovely things happen in every movement of the piece, but in a way that is meant to feel accidental and found, rather than designed and anticipated.
The 2012 Iditarod, as the Summer Institute for Contemporary Performance Practice finale has come to be called, clocked in at more than eleven hours—the longest since I’ve been going. In the end, eleven hours wasn’t all that bad—the sheer bulk of time encouraging a get-comfortable attitude that made every piece feel a little more generous than it might on a regular concert.
Harvard University is inextricably associated with the Boston Area, yet is also just a bit oblique to it, like a secular Vatican City maintaining its sovereignty within a Hub version of Rome. The musical orthodoxies it hands down at a roughly generational pace, too, manage to track compositional trends while still standing apart from them.
The April 22 concert of music by Burr Van Nostrand in New England Conservatory’s Brown Hall didn’t include any explanation as to why Nostrand hadn’t composed any music since the early ’90s, nor why the music he had composed had lain unperformed for the same amount of time. Which was really something of a gift: this was music that simply seemed to reappear, pristine, unencumbered by the accumulated residue of a zigzag career.