Thank baby Jesus for Weirdo Records. And not just for the Monday concert series (called, unsentimentally, “The Series on Mondays”), although the December 16 installment was the occasion for this particular redemption. An unusually paltry three-person audience—Sawyer, Michael Rosenstein (another Boston-area modular synth guru), and an interloper, me—was transformed by the tight quarters into something respectable; the music made its own multitude.
Chicago-based composer Carolyn O’Brien’s path to becoming a composer wasn’t a typical one. She taught in public schools for ten years before she took her first composition lesson at 32, disappointed with the contemporary music repertoire for public school students and imagining she might create music for that medium. She’s now is a doctoral candidate at Northwestern University
This fall, Other Minds released Sarah Cahill’s recording of works that have come out of her A Sweeter Music commissioning project, developed as a response to the Iraq War. Innova released High Art, a collection of pieces that San Francisco-based percussion/electric guitar duo The Living Earth Show has been performing regularly which were written for them by a younger generation of composers than those represented on Cahill’s disc.
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.