Composers share the secrets behind their work
Sunday, January 15, 2012
“n this age of ultimate freedom in creating art, the inspiration and creative process for a piece of music can be just as fascinating as the end product. Composers these days find their inspiration in pretty much anything—from an architectural shape to subway noise, and while they might seem like shy creatures, most of them (including myself) love to share the madness “behind the scenes.”
This week’s Cued-Up, which airs Sunday at 2 pm, features a handful of composers who will share their secrets, from musical ingredients to the meaning behind titles of some of their works recorded live here in New York City.
We’ll hear Gavin Bryars introduce his The Sinking of Titanic—a work that leaves abstract concert music behind to embrace an old memory—and listen to Jacob T.V. discuss the process behind his mesmerizing and kinetic 3rd string. We’ll also hear from Nico Muhly, Michael Gordon, and Steve Reich, sharing their thoughts on some of their most captivating works.”
The page is here.
“Chamber music carries a unique charm that’s not always as easily experienced while listening to a large-scale orchestral work. The intimate setting of performance creates a close bond between performers and the listener. This week on Cued Up we’ll keep warm from the cold winter weather with compelling chamber music by an assortment of contemporary composers.
This Sunday at 2 p.m. (with repeats Tuesday at 8 p.m. and Thursday at 4 p.m.) join us as we explore the genre of string quartet—one of the most popular chamber ensembles and a favorite of many composers—with Terry Riley’s Sunrise of the Planetary Dream Collector and Jefferson Friedman’s String Quartet No. 3.
The program will also feature compositions for other forms of chamber ensembles by Judd Greenstein, Aaron Jay Kernis, Sebastian Currier, and David Adam Smith, among others. “
The page is here. Sorry, it went up on RSS too late for a more prompt post. But the material will be re streamed as above, and, probably, archived.
“Reflecting on 2011 and Stepping into the New Year
Sunday, December 25, 2011
This year was filled with countless, captivating moments of music-making around New York City, from solo recitals at intimate, dimly lit venues to international ensembles making splashy debuts at major institutions. Join us for this special holiday episode of Cued Up as we pay homage to the waning moments of 2011 with live in-concert recordings of music about remembrance, commemoration and reflection.
Featured live performance include pianist Alexei Lubimov’s compelling and mysterious Valentin Silvestrov and C.P.E. Bach from Lincoln Center’s Kaplan Penthouse, members of the Wordless Music Orchestra performing Ingram Marshall for a September 11 memorial concert at the Metropolitan Museum, and Crash Ensemble playing music of Donnacha Dennehy at (Le) Poisson Rouge.
Thanks for tuning into Cued Up this year, and we’re looking forward to 2012 and renewing our commitment to bringing you the most beautiful, curated assortment of music from cutting-edge venues, passionate, young musicians and vibrant composers!”
[I got his late; you can catch the repeat streams Tuesday or Thursday.]
See the full article here.
Celebrating A Shimmering Array of Musical Commissions
Sunday, December 18, 2011
For young composers, getting commissioned is a momentous occasion that calls for celebration.
“Whether the composer is commissioned for a colleague’s flute recital or a full-on and fully-spotlit concerto for a major symphony orchestra, the idea of a “commission” puts the composer in a different mindset. The work is no longer the fruit of seemingly infinite hours of solitary work subject to recurring doubts and recriminations, but an ongoing collaboration between composer and performer. One can even venture further to say that for many composers, the first musical ideas emerge from knowing the performers as friends, musicians or just human beings.
This Sunday, we salute commissions and the performers and ensembles that have sought new music from adventurous composers. Join us at 2 p.m. as we celebrate commissioned works by Maria Schneider, Matthias Pintscher, Arvo Pärt, David Lang, Chris Kapica, and others.”
This page originates here.
Q2 Music Host Gity Razaz fills in for Nadia Sirota from 12-1 pm on Thursday, December 15
Thursday, December 15, 2011
A Profile in Sound and Stories of Alexandre Lunsqui and the World Premiere of Fibers, Yarn and Wire
“On Thursday, December 15 at 12 pm, Brazilian-born composer Alexandre Lunsqui joins host Gity Razaz to talk about his compositional aesthetic, the use of jazz and traditional Brazilian in his writing, and his excitement and anxiety surrounding the upcoming world premiere of Fibers, Yarn and Wire — this year’s New York Philharmonic CONTACT! new-music series commission.
Premiering at the Metropolitan Museum and Symphony Space on Friday, December 16 and Saturday, December 17 respectively, alongside works by Magnus Lindberg and HK Gruber, Fibers, Yarn and Wire offers the composer a moment of return to his adopted home country. Born in San Paulo, Brazil, Lunsqui spent over a decade living in the United States, first at the University of Iowa and then under the guidance of Tristan Murail, Fred Lerdahl, and others as a doctoral student at Columbia University. In 2010, he accepted a position as composition professor at the Universidade Estadual Paulista, UNESP in San Paulo, and, only a few weeks into the job, the New York Philharmonic called to announce that they were commissioning a work.
Though Lunsqui’s music may incorporate influences of the spectralist practices of Murail and Gerary Grisey as well as his former life as a jazz pianist in Brazil, there is a propulsive, percussive energy and a rigorous, innovative approach to structure that is all his own. Listen in Thursday, December 15 at 12 pm or stream his entire interview on-demand later in the day.”
See the full article here.
Stories Both Historical and Imagined That Have Inspired Great New-Music
Sunday, December 11, 2011
“This week’s Cued Up revolves around fables and tales. Whether fictional or factual, these stories have stayed with us through years and across cultures. Dozens of these stories have come to define our persona, culture, and perhaps even our race.
Tune in this Sunday at 2 pm, as we explore music that embraces our past through the power of folklore, oral histories and defining societal moments. We listen to Achille’s Heel by Colin Jacobsen, a quartet with a double reference to the ancient Greek mythology and the downfall of all that was once robust, as well as to Debussy’s middle name (the piece doesn’t fail to evoke moments of distant familiarity with Debussy’s quartet).
Other works include William Bolcom’s The Serpent’s Kiss, Gavin Bryars’s The Sinking of the Titanic, David Lang’s The Little Match Girl Passion, as well as other poignant, referential works.”
Sorry, this did not go up on RSS feed until 2:58PM. But, you know, it will be there, whenever you want it.
The History of Chamber Symphonies: Explicit and Imagined
Sunday, October 30, 2011
“Concert music is perhaps one of the few art forms that is born purely of abstraction. Each composition demands the composer construct a new world with its own set of rules and regulations. The composition becomes the sole portal into this new sonic universe, through which we get a glimpse of the artist’s vision. However, some pieces come with a history, and, while entirely original and independent, connect with the audience somewhat differently. The experience of listening becomes filled with discovery of the new and surprises of sensing familiar traces.
This Sunday we’ll start with John Adams’s Son of Chamber Symphony, a thrilling work that comes with its own considerable lineage. Composed in 2007 for the ensemble Alarm Will Sound, the work follows the footsteps of its predecessor, Chamber Symphony of 1992, a piece that itself is a response to Arnold Schoenberg’s Chamber Symphony, Op. 9. Following the Adams, we’ll listen to Paul Chihara’s own Chamber Symphony.
Alarm Will Sound
We’ll finish the program with Jason Treuting’s Oblique Music for 4 Plus (Blank) as recorded live at Miller Theatre, a work that while bearing no immediate connection to the other pieces on the program, nonetheless lulls the ear into a familiar space (the piece starts beautifully and reminiscent of something decelerated and almost Gershwinesque!) as it wistfully offers a few dim glimpses of the opening Adams.
The original post is here.