In Wolff’s music, one might say that the implied history of each piece, the fact of its composition, its notation, its interpretation and performance, is elevated to the point where it is not just present, but it is, in fact, how the piece is experienced. Every sound is a reminder of its own origin.
Wayne Horvitz’s music for 55: Music and Dance in Concrete, taken out of its original site-specific multimedia context, comes across as part psychedelic soundtrack (think Barbarella), part mysterious fun house (think Sleep No More).
Negative Space is the first full length album of electronic musician/sound artist Michael Hammond’s recording project No Lands; it features nine electronic works that combine song format and ambient soundscape—the work of, as Hammond states in the liner notes, “Three years and a hurricane.”
Michael Ching’s A Midsummer Night’s Dream is resolutely tonal, frequently extremely tuneful, and sometimes borders on pop. Yet it is radical and totally unexpected. There are no instruments in the orchestra, every sound is made by voices. It sounds nothing like what you might imagine an opera based on Shakespeare would sound like. And yet it totally works.
Composer-trombonist-conductor JC Sanford’s recent release Views From The Inside on Whirlwind Recordings delivers loads of aural surprises wrapped up in layers of jazz orchestra.
Jeffrey Mumford’s recent 2-CD album through a stillness brightening features a selection of imaginative, skillfully executed solo and chamber works to fire up the ears.
A wide-ranging Boston summer playlist featuring tracks from Pulitzer Prize Fighter, the Boston Modern Orchestra Project, Mehmet Ali Sanlıkol, Neil Cicierega, and the Boston Symphony Chamber Players.
Though Zwilich, Brouwer, and Shatin are only three of many distinguished female composers, they serve as important models of the different ways a successful career as a female composer can look. Each composer has something wildly different to offer to the contemporary music scene with new CD releases.
This selection of chamber works composed between 1993 and 2008 suggest that Becker has an “on/off” switch resulting in either intensely energetic music, or in work of concentrated repose. There isn’t a lot in-between, but clearly such extremes suit the composer.
The more you listen to Lumen, an extremely expansive two-CD set culled from twenty years of recordings of music by Philadelphia-area composer/pianist Adam Berenson, the less aware you are of whether the music was composed a priori or improvised on the spot.