Posts in Listen
I’ve long been a fan of Gabriel Kahane’s songwriting. With February House, he has taken the strengths of his previous projects—smart lyrics, even smarter compositional choices—and played them out across a larger storyboard, creating distinct voices for his characters that still solidly carry the attractive marks of his own.
For the recording Time Loops cellist Maya Beiser teams up with composer/pianist Michael Harrison to perform a number of Harrison’s works inspired by “music from ancient Greece and the Renaissance, Indian ragas and Minimalism.” All of his music is performed in just intonation, and the result is an ear-openingly clear, bright sound that fits the instrument beautifully and highlights the ecstatic, spiritual nature of the compositions.
While much of 21st-century contemporary composition is not beholden to any rules, to the extent that I could probably claim everyone to be an “outsider” in some ways, Bono’s music sounds as though everything he writes is something he is discovering for the very first time.
Sumeida’s Song was completed in 2008, when composer Mohammed Fairouz was only 22 years old. Taking inspiration from Tawfiq al-Hakim’s play “Song of Death”, the opera follows Alwan (Mischa Bouvier) as he returns from Cairo to his hometown in Upper Egypt.
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.
Drawing on his work from the decade spanning 1997 to 2007, composer David Keberle’s new album, Caught in Time, showcases six chamber works that blend microtonality, extended performance techniques, and rich textural writing into spacious soundscapes for 21st-century ears.
An assortment of tempting recordings to accompany Halloween escapades–from the creepy to the quirky and beyond.
In Guy Klucevsek’s Polka from the Fringe, which is similar in spirit to the roughly contemporaneous Waltz and Tango Projects, composers directly engage in the squeezebox’s more quotidian roots. The next time someone comes up to you claiming to be able to define new music, tell him or her to listen to these recordings.
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.
In the liner notes of her latest recording, Almost Truths and Open Deceptions, Annie Gosfield writes of her “parallel lives” performing music with her own band and writing fully notated compositions for other musicians and ensembles. With both of those worlds represented on this recording, it seems more that her two creative worlds are deeply interconnected, influencing one another and sharing common musical elements and sources of inspiration.