Five days after the death of colleague and friend John Cage, I produced and hosted a two-hour tribute broadcast on the New York City radio station WBAI-FM. Only a few of the many, many friends who were also close to him could be invited and the emotions of the moment were still raw. Now, all this time later, it’s hard to believe he’s no longer with us.
Reading the memoirs of Ernst Krenek while listening to a new boxed set of his five symphonies—recorded over the past two decades by the North German Radio Philharmonic Hanover and released in May by CPO—helps rekindle the Austrian-born American immigrant’s world of strength and beauty, revealing the tumultuous life and searing music of an unjustly overlooked composer.
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.
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.
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.