While mainstream media outlets have called attention to Jay Z’s nine nominations as well as contenders such as “Blurred Lines” (the Robin Thicke song and not the 10-minute microtonal violin and harpsichord duo by Canadian composer John Beckwith), there have been fewer reports about nominees in other categories and there are a total of 82 of them this time around.
This Tuesday, the Los Angeles Philharmonic finally took the leap and programmed a concert of works all by Los Angeles composers—Sean Friar, Julia Holter, Andrew McIntosh, and Andrew Norman. It was an extremely eclectic program that showcased the range and depth of talent here.
What is it with people and singing along? No really, what is it? Here, I offer four possible explanations for a phenomenon that, for anyone who celebrates live performance, doesn’t make much sense.
A Secret Rose fulfills one’s expectations of 100 electric guitars playing simultaneously in the same 45,000 square-foot room—that is, tongue-lollingly loud shredding that triggers involuntary head bobbing—but Chatham covers far more ground than that.
In previous years the winner of the University of Louisville’s Grawemeyer Award for Music Composition has been John Adams, John Corigliano, Sebastian Currier, Aaron Jay Kernis, Peter Lieberson, Esa-Pekka Salonen, Tan Dun, Joan Tower, and George Tsontakis. This year the award goes to…
Put down that taco, Austinites! Whether it’s a delicate touch with nail and flesh or vicious pick scrapes run through seven stompboxes, there are whole worlds of great sounds being created by guitarists you’ve never heard of…yet.
At LA’s Union Station last Sunday, I saw composer Christopher Cerrone’s opera based on Calvino’s novel, also called Invisible Cities. The production managed to be at once extravagant and subtle, with the audience listening to the live performance on wireless headphones while wandering freely through an actual, historically scenic train station.
Boston Musica Viva, the city’s oldest new music group, might have been tempted to, say, recapitulate its first program from February 1970. Instead, the year’s concerts are filled with relatively recent music, with a premiere for each—the kind of inner effort, one might say, by which new music stays new.
No matter how you slice it, overseeing the development of an opera seems a lot like marshaling forces for the invasion of a small country. Hagen’s recently performed (a fully-staged, “pre-professional” workshop) full-length “opera noir,” A Woman in Morocco is no exception.
After four decades, Kronos is still a new music group that takes its citizenship in the new music community seriously: show me another ensemble that has given more composers both the opportunity and the benefit of a meticulous, passionate performance. The music they cultivate might be geared to what they do well, but what they do well, they do better than anyone.