Sounds Heard: Dennis Johnson–November
Now, more than 50 years after November’s premiere and with a reconstructed score by Kyle Gann, the composition has finally been recorded in its entirety by pianist R. Andrew Lee and released as a 4-CD set and digital download by Irritable Hedgehog.
I fear that any music-related narrative that I’d attempt to relate today might be misinterpreted as some kind of joke, so instead I thought I’d ponder a couple of the hoaxes that made it into my web browser today.
Neil Rolnick: Seamless Transitions
Neil Rolnick is extremely soft-spoken and self-effacing, but for over 30 years he has helped to create a much changed musical landscape in the United States in terms of musical aesthetics and the application of technology in concert performance.
We clearly advocate for different reasons. But there is a kind of advocacy that has an altruistic underpinning: I’m thinking of when a musician, or group of musicians, takes on the role of presenting artists in situations where they might not be heard elsewhere.
Consider the Brass
What comes first, the repertoire or the available and interested performers? Having written more than my fair share of brass works, I find myself asking why more composers don’t try their hand at it.
Austin: New Concert Reboot
By acting as a clearing house for collaborative work and by moving concert music to different venues, Jacqueline Perrin’s Classical Reinvention project is bringing music to a new audience.
The Tax Season Shuffle
Preparing tax returns is one of my least favorite activities on planet earth. What method(s) do you use to keep track of expenses and income?
New England’s Prospect: Pulvis et Umbra
Mohammed Fairouz’s Anything Can Happen—which was given its Boston premiere on March 17 by the Back Bay Chorale, one of the work’s co-commissioners—is a piece of music in which multiple strategies for communicating connotations of seriousness are utilized with unusual skill.