Articles by Molly Sheridan
There are plenty of unique albums out there, of course, but San Francisco-based Common Eider, King Eider’s Sense of Place is a particular standout in this regard. The unusual packaging of the project lends an air of mystery to the proceedings, like receiving keys and a map to an adventure of unknown parameters ahead.
With Scorpion Tales, Duo Scorpio doesn’t require you set aside all of your wedding prelude and garden party images of the harp before you hit play, but they are going to stretch those sonic ideas out of whack once things get going. This may be the sum distillation of the work included on this album—it doesn’t build barriers out of repertoire, but it does open quite a few windows in the library.
When Lembit Beecher was named composer-in-residence with the Opera Company of Philadelphia (in collaboration with Gotham Chamber Opera and Music-Theatre Group of New York) in 2011, he didn’t bring a large portfolio of operatic work with him to the brand new three-year program. An instinct and affection for storytelling, however, already infused his compositions.
Taken as a whole, the work included on From Japan may stand as a document to Carl’s multifaceted exploration of the intersection between American and Japanese musical culture. In much broader and perhaps simpler terms, however, it is evidence of how careful a listener Robert Carl is, and how generously he invites us all to listen with him.
Plenty of composers flourish within the halls and harbors offered by academia, developing their artistic voices and finding their professional footing; Randy Gibson understood pretty quickly that he wasn’t one of them.
A wide spectrum of guitarists have responded to the siren call of the $100 Guitar Project. No curatorial bar was set, no stylistic walls erected. It has been a community exercise, each musician encouraged to come to the project without preconceived ideas and to simply explore whatever the guitar suggests to them.
Both of John Supko’s pieces, showcased here with optional video accompaniment, ride a disquiet of rapid motion that contrasts with a simultaneously delivered deeper meditative and exploratory spirit.
Taken as an album-length work, the collection of unique voices Composed encompasses as part of its scheme is impressive; that it all comes together so seamlessly is a credit to the strength of Bischoff’s singular one.
When Zoë Keating takes the stage, her charismatic presence—a perfect balance of focused performer and welcoming MC—exerts a magnetic attraction. She is a composer who, with a chair, her cello, a bit of software, and some amplification, conjures an entire orchestra of sound out of the timbres of this one instrument.
If I’m completely candid, the two large dinosaurs dominating the cover were what first attracted my attention to Travel Diary, a CD of works for percussion duo composed by Tristan Perich, Nathan Davis, David Lang, and Paul Lansky. Was there any way this album could end without someone being eaten alive?