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  • richardmitnick 8:34 PM on September 11, 2018 Permalink | Reply
    Tags: , And a new season begins, The Rest is Noise   

    From The Rest is Noise: “Sedona Miscellany” 

    From The Rest is Noise

    Alex Ross, by E.H Jan 17th 2013

    And a new season begins. Next weekend in NYC brings a Feldman festival entitled Softly, curated by Marilyn Nonken. Alongside familiar landmarks like Triadic Memories and Patterns in a Chromatic Field there will be early piano works, to be announced, and three short Feldman-based films by Zahra Partovi and Chris Villars. For further showings of the latter, see Villars’s site….. Beginning tonight is another edition of the Resonant Bodies Festival, with Paul Pinto, Helga Davis, Lucy Dhegrae, Jen Shyu, Nathalie Joachim, Caroline Shaw, Sarah Maria Sun, Gelsey Bell, and Pamela Z…. Missy Mazzoli’s latest opera, Proving Up, opens the Miller Theatre season on Sept. 26. Zachary Woolfe interviews her for the New York Times…. WasteLAnd has announced its new season, with Katherine Young the featured composer…. The LA Phil has announced details of its Fluxus series, adding yet more allure to its extraordinary centennial season. Yuval Sharon will direct Cage’s Europeras 1 and 2, Yoko Ono will be given a portrait concert, Patricia Kopatchinskaja will perform Fluxus pieces at the Getty, and La Monte Young is scheduled to preside over his Second Dream of The High-Tension Line Stepdown Transformer…. The Pulitzer Arts Foundation and the St. Louis Symphony have announced their 2018-19 concert series, featuring Mazzoli, Shaw, Anna Thorvaldsdottir, and Mary Kouyoumdjian, among others…. In this week’s New Yorker, Rebecca Mead has a wonderful profile of George Benjamin, who speaks revealingly about his long development as a composer and the origins of his recent operatic work.

    See the full article here .

    five-ways-keep-your-child-safe-school-shootings

    Please help promote STEM in your local schools.

    Stem Education Coalition

    The Rest Is Noise: Listening to the Twentieth Century is a voyage into the labyrinth of modern music, which remains an obscure world for most people. While paintings of Picasso and Jackson Pollock sell for a hundred million dollars or more, and lines from T. S. Eliot are quoted on the yearbook pages of alienated teenagers across the land, twentieth-century classical music still sends ripples of unease through audiences. At the same time, its influence can be felt everywhere. Atonal chords crop up in jazz. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalism has had a huge effect on rock, pop, and dance music from the Velvet Underground onward.

    The Rest Is Noise shows why twentieth-century composers felt compelled to create a famously bewildering variety of sounds, from the purest beauty to the purest noise. It tells of a remarkable array of maverick personalities who resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with sweet sounds or battered them with dissonance, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. The narrative goes from Vienna before the First World War to Paris in the twenties, from Hitler’s Germany and Stalin’s Russia to downtown New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of dramatic new technologies, of hot and cold wars, of experiments, revolutions, riots, and friendships forged and broken. The end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 3:40 PM on August 20, 2018 Permalink | Reply
    Tags: , , , The Rest is Noise   

    From The Rest is Noise: “The Sounds of Music in the Twenty-first Century” 

    From The Rest is Noise

    Alex Ross, by E.H Jan 17th 2013

    1
    Illustration by Richard McGuire.

    August 27, 2018
    Alex Ross

    Contemporary composition has become as fractured as the art world—and that’s a good thing.

    “When the hip-hop artist Kendrick Lamar won the 2018 Pulitzer Prize for Music, in April, reactions in the classical-music world ranged from panic to glee. Composers in the classical tradition have effectively monopolized the prize since its inception, in 1943. Not until 1997 did a nominal outsider—the jazz trumpeter and composer Wynton Marsalis—receive a nod. Lamar’s victory, for his moodily propulsive album “damn.,” elicited some reactionary fuming—one irate commenter said that his tracks were “neurologically divergent from music”—as well as enthusiastic assent from younger generations. The thirty-one-year-old composer Michael Gilbertson, who was a finalist this year, told Slate, “I never thought my string quartet and an album by Kendrick Lamar would be in the same category. This is no longer a narrow honor.”

    Lamar’s win made me think about the changing nature of “distinguished musical composition,” to use the Pulitzer’s crusty term. Circa 1950, this was understood to mean writing a score for others to perform, whether in the guise of the dissonant hymns of Charles Ives or the spacious Americana of Aaron Copland. But that definition was always suspect: it excluded jazz composers, whose tradition combines notation and improvisation. In 1965, a jury tried to give a Pulitzer to Duke Ellington, but the board refused. Within classical composition, meanwhile, activity on the outer edges had further blurred the job description. By the early fifties, Pierre Schaefer and Pierre Henry were creating collages that incorporated recordings of train engines and other urban sounds; Karlheinz Stockhausen was assisting in the invention of synthesized sound; John Cage was convening ensembles of radios. By century’s end, a composer could be a performance artist, a sound artist, a laptop conceptualist, or an avant-garde d.j. Du Yun, Kate Soper, and Ashley Fure, the Pulitzer finalists in 2017—I served on the jury—make use, variously, of punk-rock vocals, instrumentally embroidered philosophical lectures, and architectural soundscapes. Such artists may lack the popular currency of Lamar, but they are not cloistered souls.”

    If you want to keep up with this fractured world, avail yourself of http://www.newsounds.org from New York Public Radio. You will hear a lot a great new music especially on the hosted programming. The web site also offers the full catalogue of John Schaefer’s previous programs and Soundcheck, gigalerts and more.

    Enjoy Alex’s full article. I sure did.

    See the full article here .

    five-ways-keep-your-child-safe-school-shootings

    Please help promote STEM in your local schools.

    Stem Education Coalition

    The Rest Is Noise: Listening to the Twentieth Century is a voyage into the labyrinth of modern music, which remains an obscure world for most people. While paintings of Picasso and Jackson Pollock sell for a hundred million dollars or more, and lines from T. S. Eliot are quoted on the yearbook pages of alienated teenagers across the land, twentieth-century classical music still sends ripples of unease through audiences. At the same time, its influence can be felt everywhere. Atonal chords crop up in jazz. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalism has had a huge effect on rock, pop, and dance music from the Velvet Underground onward.

    The Rest Is Noise shows why twentieth-century composers felt compelled to create a famously bewildering variety of sounds, from the purest beauty to the purest noise. It tells of a remarkable array of maverick personalities who resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with sweet sounds or battered them with dissonance, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. The narrative goes from Vienna before the First World War to Paris in the twenties, from Hitler’s Germany and Stalin’s Russia to downtown New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of dramatic new technologies, of hot and cold wars, of experiments, revolutions, riots, and friendships forged and broken. The end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 8:24 PM on May 12, 2018 Permalink | Reply
    Tags: , The Rest is Noise   

    From The Rest is Noise: Notable Notes 

    From The Rest is Noise

    Alex Ross, by E.H Jan 17th 2013

    May 11, 2018
    Finley’s Amfortas
    1
    The incandescent Canadian recently outdid himself in a Parsifal with Simon Rattle and the Berlin Philharmonic. The performance is well worth a ten-euro fee for a week’s pass at the Digital Concert Hall — and there is much else on offer. Sir Simon will lead his final concert as Berlin’s principal conductor on June 20; he bids farewell with Mahler’s Sixth Symphony.

    April 29, 2018
    Mahler still grooves
    2
    Zach Smith, who was responsible for a rash of Mahlerian graffiti in Washington, DC in the late seventies and early eighties, sent me this picture taken in the fall of 1977, showing his handiwork on the base of the Arizona Avenue Trestle. In a 1995 article for The New Yorker, I related how the graffiti caught my eye as I rode a school bus back and forth to the Potomac School, in McLean, VA. (I misremembered it as Mahler Lives.) This was not the first time the Austrian master’s name had appeared by the side of Canal Road. In a 2009 post, I noted that Stephen Chanock, later of the National Cancer Institute, had originally painted Mahler Grooves at this location in 1972. Zach Smith reapplied the legend five years later, and in 1982 painted Gustav Mahler [heart] Alma in the same spot. The latter was duly reported in The Washington Post. Mahler graffiti also appeared in Toronto circa 2007. May the trend long continue.
    Photo: Zach Smith’s Mom.

    April 25, 2018
    Astrid Varnay at 100

    The great Swedish-American soprano would have been one hundred today. Her centenary is receiving considerably less hoopla than that of her compatriot Birgit Nilsson, which arrives on May 17. Indeed, as far as I can tell, it is receiving no hoopla at all. This is a pity, because Varnay was to my way of thinking the deeper, more substantial artist. I couldn’t really construct a rational argument to contest the claim that Kirsten Flagstad is the supreme dramatic soprano on record, but my personal preference goes toward Varnay, whose extraordinary dark-gleaming voice was joined to ferocious dramatic intelligence. Her singing of Brünnhilde on the 1955 Keilberth Ring from Bayreuth anchors what may be the finest account of the cycle available. The video above is taken from her 1956 Ring with Knappertsbusch; that and the 1953 version with Krauss are also glorious. Varnay’s autobiography, Fifty-five Years in Five Acts, is one of the most rewarding of singer memoirs.

    See the full article here .

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    The Rest Is Noise: Listening to the Twentieth Century is a voyage into the labyrinth of modern music, which remains an obscure world for most people. While paintings of Picasso and Jackson Pollock sell for a hundred million dollars or more, and lines from T. S. Eliot are quoted on the yearbook pages of alienated teenagers across the land, twentieth-century classical music still sends ripples of unease through audiences. At the same time, its influence can be felt everywhere. Atonal chords crop up in jazz. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalism has had a huge effect on rock, pop, and dance music from the Velvet Underground onward.

    The Rest Is Noise shows why twentieth-century composers felt compelled to create a famously bewildering variety of sounds, from the purest beauty to the purest noise. It tells of a remarkable array of maverick personalities who resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with sweet sounds or battered them with dissonance, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. The narrative goes from Vienna before the First World War to Paris in the twenties, from Hitler’s Germany and Stalin’s Russia to downtown New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of dramatic new technologies, of hot and cold wars, of experiments, revolutions, riots, and friendships forged and broken. The end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
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