This past May, NewMusicBox contributor Andrew Sigler and I each covered Austin, Texas’s “Fast Forward Austin” festival, and those looking for an audio snapshot of that city’s emerging new music scene would do well to give Line Upon Line Percussion’s new album a listen. This trio of percussionists—Adam Bedell, Cullen Faulk, and Matthew Tedori—formed at the University of Texas at Austin in 2009, and the four composers whose works are featured on the album are all Austin-based as well.
Stillness and Change contains four of John Aylward’s chamber works, all of which were composed within the last three years. It is an excellent snapshot of where Aylward currently is as a composer, an activity he is engaged in in addition to being an accomplished concert pianist and a formidable music theorist, plus the artistic director of the modular East Coast Contemporary Ensemble as well as the Etchings Festival.
The second piece of Nate Wooley’s planned seven-part Seven Storey Mountain cycle dropped on Important records last week. It is a haunting, often aggressive sound world that moves from a place of chilled droning into a pummeling chaos, before returning to a stressed restraint reminiscent of the work’s opening moments. After listening to the work, all I wanted to do was have a conversation with him about the music that was ultimately created. Luckily for me, he was game for a little Q&A.
The mind boggles that it has taken nearly 70 years—and a year after the William Schuman centenary in 2010—for there to be a commercially available recording of Schuman’s A Free Song, the first composition to win the Pulitzer Prize in Music back in 1943. Yet this summer has seen the release of not one, but two “world premiere recordings” of A Free Song, both from groups based in Illinois.
The artist collective called Ecosono is devoted to melding experimental sound art and environmental preservation, in an effort to highlight ecological awareness through innovative musical creations. Their new DVD, Agents Against Agency, documents nine multimedia projects exploring the interconnections between musical expression in dialog with the surrounding environment, both natural and manmade.
A collection of five short tracks adding up to just 20 minutes of music, this EP feels like more of an amuse-bouche than an image of the ensemble’s full reach, but the character of the music is enchanting enough to make it an attractive listen. Each piece rings out as if the lid has been lifted up on a new music box, the lines mixing vibraphone, marimba, and glockenspiel with percussive sounds made using less traditional wood, metal, and glass objects. With these raw materials, the ensemble employs a musical vocabulary just quirky and mysterious enough that it would comfortably fit into the films of Jean-Pierre Jeunet.
Dmitri Tymoczko’s recently published book, A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice, is a fascinating attempt at a generalized music theory and is a synthesis of an extremely broad range of music which is at the same time extremely heady and a joy to read. So it should probably come as no surprise that Beat Therapy, a new disc of Tymoczko’s own compositions, is equally far reaching yet utterly entertaining.
Composer Arlene Sierra is the closest thing to a “musical entomologist” that we will probably find in the world of contemporary music. The first word that comes to my mind when listening to her music is “spin,” and the accompanying visual is that of a spider weaving an intricate web with speed and dexterity, into which a myriad of other tiny creatures unsuspectingly wind themselves up.