This Tuesday, the Los Angeles Philharmonic finally took the leap and programmed a concert of works all by Los Angeles composers—Sean Friar, Julia Holter, Andrew McIntosh, and Andrew Norman. It was an extremely eclectic program that showcased the range and depth of talent here.
What is it with people and singing along? No really, what is it? Here, I offer four possible explanations for a phenomenon that, for anyone who celebrates live performance, doesn’t make much sense.
A Secret Rose fulfills one’s expectations of 100 electric guitars playing simultaneously in the same 45,000 square-foot room—that is, tongue-lollingly loud shredding that triggers involuntary head bobbing—but Chatham covers far more ground than that.
Now in their fourth season, Spektral Quartet is currently ensemble-in-residence at the University of Chicago and already a well-known champion of Chicago composers, including the six whose works are featured on the group’s first commercial disc release.
Jetlag finally caught up with me over the holiday weekend, but it got me thinking about music and the way that music plays with listeners’ perceptions of chronological time.
In previous years the winner of the University of Louisville’s Grawemeyer Award for Music Composition has been John Adams, John Corigliano, Sebastian Currier, Aaron Jay Kernis, Peter Lieberson, Esa-Pekka Salonen, Tan Dun, Joan Tower, and George Tsontakis. This year the award goes to…
What could a Hardanger fiddle player and a computer programmer possibly have in common? For Dan Trueman, an expert in both areas, it’s all just technology. And whether the eventual expression of his ideas requires old instruments or the invention of new ones, he is more concerned that the tools employed offer musicians the most engaging musical experience possible.
Put down that taco, Austinites! Whether it’s a delicate touch with nail and flesh or vicious pick scrapes run through seven stompboxes, there are whole worlds of great sounds being created by guitarists you’ve never heard of…yet.
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.
The three discs featured here all contain music in which computer interaction plays a prominent role alongside human performers.