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.
I know, I know. You’re probably right to be skeptical. But still: the Super Bowl is one of planet Earth’s most massively successful entertainment events, each and every year. We could probably learn a thing or two.
“I didn’t expect it to be so charming…” I heard the above quote in the foyer during the intermission of the first of two concerts scheduled during their residency with Texas Performing Arts, and I’m inclined to agree.
One of the passing revelations of the Callithumpian Consort’s concert in Jordan Hall on Saturday, January 26, was that exactly where along the absolute/programmatic continuum a piece is situated can, in fact, make or break the piece.
Record shopping, event listings, and a consideration of some of the more serious issues we’ll be facing down the road.
It’s often textbook images of his early scores, rather than all-too-rare performances of the music itself, that form the basis of Earle Brown’s reputation. It was the goal of the Earle Brown: Beyond Notation seminar to rectify this situation and expand the understanding and status of this great American composer and conductor.
Five new music angles on the Chamber Music America conference.