One of the barometers of new-music status in Boston—anywhere, really, but especially here—is whether a group’s concerts feel as much like networking events as performances. BMOP is in that strata; the Boston Composers’ Coalition is, as of yet, not.
Despite the nip in the Chicago air, there are plenty of shows this weekend hot enough to leave the house for.
Chris Cogburn recently curated the 10th annual No Idea Festival with six concerts in Austin and San Antonio. Hailed by the Paris Transatlantic as “one of the finest improvised festivals in the world,” this year’s gathering featured performances by nineteen musicians who made domestic treks from Austin, Houston, Jackson, and New York, as well as those who braved customs with loads of arcane gear from New Zealand, Germany, France, and Mexico.
From the moment that Ensemble Dal Niente announced that George Friedrich Haas’s widely admired work in vain would be the cornerstone of their 2012-13 season, Chicago has been buzzing about the performance.
Ainadamar is Opera Parallèle’s first production since changing its name from Ensemble Parallèle. This small company, founded in 1993 by Nicole Paiement, has turned their focus to contemporary opera with several successful productions over the past few seasons.
The Kronos Quartet wrapped up a three-year residency at the Yerba Buena Center for the Arts this month with a program devoted to San Francisco composers Dan Becker, Stephen Prutsman, Nathaniel Stookey, and Pamela Z.
This is the second season in SFCMP’s 42-year history that has been under the artistic direction of Steven Schick, the longtime champion of contemporary music for percussion. Given the enthusiasm surrounding this Reich program, it will be interesting to see what other interests Schick and SFCMP can tap into as his tenure progresses.
Feel better and have some fun, Chicago!
A unique instrumentation hasn’t stopped other new music ensembles from creating repertoires for themselves, and ZOFO seems to be on that path, too. With outstanding musicians like Eva-Maria Zimmermann and Keisuke Nakagoshi championing piano-four-hands, perhaps more composers will be encouraged to take up the cause.
“Brando Noir,” the concert mounted on January 29 by the New England Conservatory’s Contemporary Improvisation department, bounced in and out of sync with the cinematic dynamic.