Ten x Ten: 2013 is a collaborative venture between ten Chicago visual artists and ten composers. Working in pairs, they crafted joint “statements of intent” and created pieces of music and art which speak to each other. Andrew Tham and Edie Fake speak here about their journey from collaborative “blind date” to finished piece.
Described as a “spatial symphony” composed and directed by Lisa Bielawa, Crissy Broadcast involved hundreds of musicians drawn from a dozen or so local ensembles, including middle school and high school bands and orchestras, adult amateur musicians, two choruses, a traditional Chinese instrument orchestra, and a gaggle of electric guitarists with portable battery-powered speakers slung over their shoulders.
New York Festival of Song visited the Isabella Stewart Gardner Museum’s Calderwood Hall with a program celebrating Ned Rorem’s 90th birthday. The frame—the tonality, the lyricism, the elegant hedonism—is obvious; but what’s contained within the frame, what is and isn’t there, is something considerably more elusive.
It was a massive interdisciplinary art, music, and sound event produced on a scale large enough to successfully fill an arena—something intense, interesting, challenging, interdisciplinary, and yet totally accessible. Perhaps we need to admit to ourselves that people like to be challenged, that people want to dive into wild and contemporary imagery and messages, but that our success in that mission may not come from our own backyard.
Frank Zappa’s 200 Motels is a glorious mess. In some ways this makes it the perfect thing to put on to celebrate the 10th anniversary of LA’s Walt Disney Hall and its already turbulent history. As for the score itself, it is—how should I put this?—spectacularly over-orchestrated, bordering on near-cacophony with unsettling frequency. I mean this as a good thing.
Boston University is currently reviewing their financial stake in the program and its future—both as part of the larger university and as directly connected to Tanglewood itself. But cutting BUTI or relocating it from its current campus would be a sad erasure of a rich legacy that stretches back forty-five years and encompasses the early careers of many prominent musicians.
The Ostrava Days, an intense biennial in the Eastern end of the Czech Republic, has long been known for stretching into long nights across August. But this year seemed especially expansive: there were performances of Philip Glass’s four-hour Music in 12 Parts and Petr Kotik’s nearly six-hour Many Many Women before the official opening night.
In our contemporary music landscape, long-term collaborations can be logistically and financially difficult to achieve. Two weeks ago, I visited violinist Austin Wulliman and composer/bassoonist Katherine Young in their studio and was intrigued to see them working together in an entirely new context.