For me, performing Bob Morris’s music is a tricky balancing act.
For me, performing the music of Carlos Sanchez-Gutierrez is risky. To say that his works are touchy is an understatement—in performance, they have the feel, for me, of being held together only on faith. Irregular patterns, unexpected accents, and awkward grace notes give the impression of a mechanism operating near its breaking point.
Never turn down an invitation to eat, drink, or dance
The music of Ricardo Zohn-Muldoon is, for me, a satisfying challenge that requires the player to engage in intent chamber music—his own part is only a small portion of his concern, as at every moment an intricate contrapuntal structure is being advanced.
On any given day, the opportunities to hear live music in Amsterdam are vast; free-improvisation at a squat, experimental electronic music beamed to the moon and back at the local zoo’s planetarium, seasoned street performers, and world-class contemporary music are just a few of the flavorful events this city has to offer.
This week, I’m in Rochester, New York, rehearsing with the Eastman BroadBand, a contemporary chamber orchestra at the Eastman School of Music, in preparation for our upcoming tour to Mexico.
Arthur Jarvinen (1956-2010) was a dynamo whose output seemed to be just a matter of course in a normal day for him, with his output switching gears seamlessly from concert pieces, to music with deeply imbedded theater, to his own self-created genre which he called physical poetry.
Over forty concerts in two-dozen venues scattered throughout Oslo!
This was the first time I’ve ever experienced Marin Alsop live in concert and what a dynamic personality she is; the performance is also wonderfully precise.
Suddenly and inexplicably I am lost, Marin Alsop stops conducting, the audience is utterly silent; I think I say, “Sorry, I have to start the third movement again.”