On paper, the June 17 concert presented by the Summer Institute for Contemporary Performance Practice, part of the institute’s annual week of new music training, festivities, and shenanigans, made some piece-to-piece local connections but seemed more miscellaneous on a global scale. In performance, though, a theme kept peeking around the edges.
Jim’s own music exemplified human oddity. It certainly did not aspire to impress or even express; it revealed. He was way out there. But Jim didn’t just get washed up on these exotic shores for lack of ability to navigate the waters around the mainland. He chose to make music a rare and deep experience.
The Live in HD transmission of The Death of Klinghoffer has been cancelled after concerns were raised that the Metropolitan Opera’s plans to transmit the opera might be used to fan global anti-Semitism. Adams describes the decision as “deeply regrettable” saying it “goes far beyond issues of artistic freedom, and ends in promoting the same kind of intolerance that the opera’s detractors claim to be preventing.”
Neil Young Cloaca is an irrepressible showman. Bromp Treb is an opportunity for him to apply that carnival-barker enthusiasm to a table full of mismatched gear. Cloaca circled the table, triggering highly distorted samples while playing up theatrical befuddlement, as if he was trying to decipher a recalcitrant machine—or defuse an eccentric bomb.