Author Archives: Matthew Guerrieri

New England’s Prospect: Tracking Devices

The sound of trains runs through Harry Partch’s music, the wheeze and whine of whistles drifting over and beyond the settled grid of equal temperament, the percussive cycles phasing in and out like the rods and wheels of a locomotive.

New England’s Prospect: Cottage Industries

The Festival of Contemporary Music produces an annual, temporary, vibrant community—at times, it feels like a new music networking event with added concerts—but one set apart from the customary Tanglewood crowds. It’s genial to outsiders, but also prone to bewilder them.

Sounds Heard: Anthony Paul De Ritis—Devolution

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.

New England’s Prospect: Output and Gain

Amplification, it turns out, is a fine line, and the amplification of this particular concert left me in the position of feeling critical towards a program on which, paradoxically, I actually liked a lot of the music itself.

Sounds Heard: John Luther Adams—songbirdsongs

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.

New England’s Prospect: The Long, Long Trailer

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.