[213.1] BARTOK AND KODALY'S VERNACULAR PASSION
Passion-music magazine is an online resource linked to a CD distributor (who also offer MP3 samples, links and ordering information) specialising in European folk music. Currently available texts include an interviw with Speranta Radulescu of the Romanian label Ethnophonie, and (fabulously) the preface to Béla Bartók and Zoltán Kodály's work 'Hungarian Folksongs', which was first published in the 1900s in Budapest.
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Friday, October 31, 2003
Thursday, October 30, 2003
[212.1] OPERATIC CHOICES
Though accused in the media of deliberately trying to undercut English National Opera and the Royal Opera House Covent Garden, impresario Raymond Gubbay (known for his brassy and loud mega-opera 'spectaculars' at Earls Court) was suitably modest on BBC Radio 4's Today programme yesterday.
His company, in legion with the Royal Philharmonic, has taken over the Savoy Theatre in London's West End and will offer an eight-performance weekly schedule of the most popular operatic works (Mozart, Puccini et al) between February and April next year.
Gubbay avered that he wants to work with rather than against the established Houses. But Today, which revels in dumbing-down when it comes to music (though not other art forms) made the underlying message clear by holding up an excerpt of Schoenberg's 'Moses Und Aaron' for implied ridicule... Just to show their ignorance, they chose a moment of exquisite melody: "though not as we know it, Jim" (or John, in this case).
Interesting additional fact: Today's John Humphries also hosts the TV show, Mastermind. But his own masterful mind had never heard of Fairport Convention, he confessed, when the folkie coruncopians were chosen as a specialist subject a few weeks back. So he's obviously never come across their instrumental of Berg's ditty 'Liege and Lief', then... ;-)
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Though accused in the media of deliberately trying to undercut English National Opera and the Royal Opera House Covent Garden, impresario Raymond Gubbay (known for his brassy and loud mega-opera 'spectaculars' at Earls Court) was suitably modest on BBC Radio 4's Today programme yesterday.
His company, in legion with the Royal Philharmonic, has taken over the Savoy Theatre in London's West End and will offer an eight-performance weekly schedule of the most popular operatic works (Mozart, Puccini et al) between February and April next year.
Gubbay avered that he wants to work with rather than against the established Houses. But Today, which revels in dumbing-down when it comes to music (though not other art forms) made the underlying message clear by holding up an excerpt of Schoenberg's 'Moses Und Aaron' for implied ridicule... Just to show their ignorance, they chose a moment of exquisite melody: "though not as we know it, Jim" (or John, in this case).
Interesting additional fact: Today's John Humphries also hosts the TV show, Mastermind. But his own masterful mind had never heard of Fairport Convention, he confessed, when the folkie coruncopians were chosen as a specialist subject a few weeks back. So he's obviously never come across their instrumental of Berg's ditty 'Liege and Lief', then... ;-)
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Wednesday, October 29, 2003
[211.1] QUARTET IN THE MIDST OF TIME
Yes, I know; a not-too-subtle Messiaen allusion. But the Phil Bancroft Quartet, a newish international jazz outfit who began to make an impression on the Scottish scene last year, do indeed conjour up the past and presage the future. Featuring Bancroft on sax, Mike Walker on guitar, Thomas Stronen on drums and Steve Watts (who has replaced American bass player Reid Anderson), they play Henry's Cellar Bar on Morrison Street, Edinburgh, tonight (29 October 2003) and tomorrow, starting at 8.30pm. Tickets are £8, and you can book on 0131 467 5200.
The Quartet's new album is due out on the fine Scottish label Caber Music early next year. A recent BBC Radio 3 review described them as purveying "dangerous rhyhm, waves of melody, hypnotic moods, sonic violence and shocking tenderness." Kay Smith has written, of their appearance at the 2002 Edinburgh Festival:
"As is to be expected, coming from the Scandanavian jazz scene, Stronen’s percussion was vibrantly adventurous. At first he whispered along with delicate brushwork; sticks were used too, to merely stroke the edges of symbols [sic!]. Later Stronen conjured up shades of American avant garde composer John Cage with, at times, sounds prosacically reminiscent of the crashing and clattering of dropped kitchen ware." (c) Kay Smith.
Also check out The Oracle, a good guide to jazz and more in Edinburgh.
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Yes, I know; a not-too-subtle Messiaen allusion. But the Phil Bancroft Quartet, a newish international jazz outfit who began to make an impression on the Scottish scene last year, do indeed conjour up the past and presage the future. Featuring Bancroft on sax, Mike Walker on guitar, Thomas Stronen on drums and Steve Watts (who has replaced American bass player Reid Anderson), they play Henry's Cellar Bar on Morrison Street, Edinburgh, tonight (29 October 2003) and tomorrow, starting at 8.30pm. Tickets are £8, and you can book on 0131 467 5200.
The Quartet's new album is due out on the fine Scottish label Caber Music early next year. A recent BBC Radio 3 review described them as purveying "dangerous rhyhm, waves of melody, hypnotic moods, sonic violence and shocking tenderness." Kay Smith has written, of their appearance at the 2002 Edinburgh Festival:
"As is to be expected, coming from the Scandanavian jazz scene, Stronen’s percussion was vibrantly adventurous. At first he whispered along with delicate brushwork; sticks were used too, to merely stroke the edges of symbols [sic!]. Later Stronen conjured up shades of American avant garde composer John Cage with, at times, sounds prosacically reminiscent of the crashing and clattering of dropped kitchen ware." (c) Kay Smith.
Also check out The Oracle, a good guide to jazz and more in Edinburgh.
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Tuesday, October 28, 2003
[210.1] JEAN CATOIRE CELEBRATION
Brian Lee writes with information about a UK concert of music by Jean Catoire in celebration of his 80th birthday. This takes place on 29 November 2003 at Colet House, 151 Talgarth Road, London W14 (nearest underground station - Barons Court).
Explains Lee: “Catoire, a one time pupil of Messiaen, worked in isolation in France. He pre-dates the minimalists of the 1960s. His music, in its geometric, repetitive simplicity and stillness, draws the listener into a state of meditation where higher mind and emotion become one with the music's archetypal nature. The programme comprises four sonatas for piano, voice, clarinet, flute and keyboard."
The Virgin CD 'A Requiem Sequence' brings together the work of Catoire and the twelfth-century German abbess, Hildegard Von Bingen.
The performers at the London concert will be: Stephen Bennett (clarinet), James D'Angelo(piano), James Gregory (flute) and DerShin Hwang (voice).
Admission at the door is £5 (£3 concessions). For further information ring: 01594 517333.
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Brian Lee writes with information about a UK concert of music by Jean Catoire in celebration of his 80th birthday. This takes place on 29 November 2003 at Colet House, 151 Talgarth Road, London W14 (nearest underground station - Barons Court).
Explains Lee: “Catoire, a one time pupil of Messiaen, worked in isolation in France. He pre-dates the minimalists of the 1960s. His music, in its geometric, repetitive simplicity and stillness, draws the listener into a state of meditation where higher mind and emotion become one with the music's archetypal nature. The programme comprises four sonatas for piano, voice, clarinet, flute and keyboard."
The Virgin CD 'A Requiem Sequence' brings together the work of Catoire and the twelfth-century German abbess, Hildegard Von Bingen.
The performers at the London concert will be: Stephen Bennett (clarinet), James D'Angelo(piano), James Gregory (flute) and DerShin Hwang (voice).
Admission at the door is £5 (£3 concessions). For further information ring: 01594 517333.
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Sunday, October 12, 2003
[209.1] RIDICULOUSLY SUBLIME
The primeTime sublime Community Orchestra (ptsCO) is, so it proudly proclaims, "one of the oddest, most intriguing groups of performers to arrive on the music scene in years." Combining skilled professional musicians, enthusiastic amateurs and a bank of computers, ptsCO seeks to bring a fresh sensibility to what it sees as "the often pretentious and self-absorbed world of modern music."
PtsCO: "Quintessentially normal" - NFE (c) ptsCO
PtsCO, ferociously loyal to its reversed upper and lower case aesthetic (but still, er, transgressively permitting a capital at the beginning of a sentence like this), notes that "Hip-hop and Techno artists have long demonstrated that, by piecing together wildly eclectic sounds, one can create bracing and fully modern music. So ptsCO takes the same approach, except that a standard, classical chamber orchestra is augmented with electric guitars, synthesizers, samplers and various non-western instruments, and the limits of music style are exploded to the point of no return."
D. C. Ruiz interviews ptsCO luminary Paul Minotto in The Independent Mind. The ptsCO website contains sound samples, weird tributes, and an insight into the Orchestra's recent unexpected masterpiece 'Holy War In Your Pants.'
"Very visual and cinematic stuff. It reminds me of a cross between The Residents/ Frank Zappa/ P.D.Q. Bach," observes Ontario DJ Chris Meloche. And he should know. They locked him up in the bar after a concert...
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The primeTime sublime Community Orchestra (ptsCO) is, so it proudly proclaims, "one of the oddest, most intriguing groups of performers to arrive on the music scene in years." Combining skilled professional musicians, enthusiastic amateurs and a bank of computers, ptsCO seeks to bring a fresh sensibility to what it sees as "the often pretentious and self-absorbed world of modern music."
PtsCO: "Quintessentially normal" - NFE (c) ptsCO
PtsCO, ferociously loyal to its reversed upper and lower case aesthetic (but still, er, transgressively permitting a capital at the beginning of a sentence like this), notes that "Hip-hop and Techno artists have long demonstrated that, by piecing together wildly eclectic sounds, one can create bracing and fully modern music. So ptsCO takes the same approach, except that a standard, classical chamber orchestra is augmented with electric guitars, synthesizers, samplers and various non-western instruments, and the limits of music style are exploded to the point of no return."
D. C. Ruiz interviews ptsCO luminary Paul Minotto in The Independent Mind. The ptsCO website contains sound samples, weird tributes, and an insight into the Orchestra's recent unexpected masterpiece 'Holy War In Your Pants.'
"Very visual and cinematic stuff. It reminds me of a cross between The Residents/ Frank Zappa/ P.D.Q. Bach," observes Ontario DJ Chris Meloche. And he should know. They locked him up in the bar after a concert...
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Thursday, October 09, 2003
[208.1] CLASSICAL CONNECTIONS
Classical Source is a good portfolio site which I came across while looking for reviews of concerts marking the 60th birthday of composer Robin Holloway. This has included events on London's South Bank and at the Wigmore Hall. The Britten Sinfonia's current season includes a concert (on Friday 14 November at 8pm) in Holloway's honour, since he is Cambridge-based.
"A fluent and versatile composer, Robin Holloway is noted for his rapprochement with tonality... The programme, devised by Holloway (and one of a series of events that celebrates the composer’s birthday during the Cambridge Music Festival) is infused with the romantic spirit. Alongside Holloway’s own 'First Idyll 'and 'Romanza', the Britten Sinfonia performs Berlioz’s song collection 'Les nuits d’été' (with mezzo-soprano Christine Rice), Wolf’s 'Italian Serenade' and Wagner’s 'Siegfried Idyll' (all pieces that Holloway loves). Paul Watkins, winner of the 2002 Leeds Conductors’ Competition, conducts. Robin Holloway talks about his work in a pre-concert event at 7.00pm."
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Classical Source is a good portfolio site which I came across while looking for reviews of concerts marking the 60th birthday of composer Robin Holloway. This has included events on London's South Bank and at the Wigmore Hall. The Britten Sinfonia's current season includes a concert (on Friday 14 November at 8pm) in Holloway's honour, since he is Cambridge-based.
"A fluent and versatile composer, Robin Holloway is noted for his rapprochement with tonality... The programme, devised by Holloway (and one of a series of events that celebrates the composer’s birthday during the Cambridge Music Festival) is infused with the romantic spirit. Alongside Holloway’s own 'First Idyll 'and 'Romanza', the Britten Sinfonia performs Berlioz’s song collection 'Les nuits d’été' (with mezzo-soprano Christine Rice), Wolf’s 'Italian Serenade' and Wagner’s 'Siegfried Idyll' (all pieces that Holloway loves). Paul Watkins, winner of the 2002 Leeds Conductors’ Competition, conducts. Robin Holloway talks about his work in a pre-concert event at 7.00pm."
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Friday, October 03, 2003
[207.1] WELL AND TRULY CANNED
New York avant post-minimalist music collective Bang On A Can have a fine online store, which includes (a further layer back) sound samples of their material. The example I have chosen is Lisa Moore's Frederic Rzewski album, featuring 'De Profundis' (from the text by Oscar Wilde) and 'North American Ballads'. Moore is perhaps better known as pianist with the Steve Reich band. She also sings, shouts, purrs and declaims. Very Cecil Taylor and Schoenberg...
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New York avant post-minimalist music collective Bang On A Can have a fine online store, which includes (a further layer back) sound samples of their material. The example I have chosen is Lisa Moore's Frederic Rzewski album, featuring 'De Profundis' (from the text by Oscar Wilde) and 'North American Ballads'. Moore is perhaps better known as pianist with the Steve Reich band. She also sings, shouts, purrs and declaims. Very Cecil Taylor and Schoenberg...
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Thursday, October 02, 2003
[206.1] LONESOME PINE
Courtney Pine interviewed in the Metro newspaper this morning:
"I realized that jazz gave me the most freedom - stuff they couldn't even teach you in school or university. The more I listened to Sonny Rollins or Miles Davis, the more I wanted to be like them. Jazz forces you to research the essence of what we are as human beings. I'm now called a jazz musician, even though I started as a reggae musician. You can play jazz and incorporate reggae or Indian influences (say) - all the soul music in this world.
"I try and play music for now, not in past styles, so it's a modern attempt at jazz music...
"I'm Britain's number one-selling jazz artist and nobody wants to give me a record deal. Jamie Callum, a young white pianist, has signed a deal for £1 million to the same label that is looking after my material. You can't make money out of black artists, so it is just not going to happen. Take this whole 'urban' thing now. That's what they call it because they don't want to call it 'black' music."
I suspect the issue also involves arcane music biz definitions about what they think of as 'commercial' (Pine isn't supposed to fit the bill, whatever his influences), and the question of TV and advertsing spin-offs. Nothing to do with anything so imaginative as music, of course...
Courtney Pine's new album, 'Devotion', is out now.
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Courtney Pine interviewed in the Metro newspaper this morning:
"I realized that jazz gave me the most freedom - stuff they couldn't even teach you in school or university. The more I listened to Sonny Rollins or Miles Davis, the more I wanted to be like them. Jazz forces you to research the essence of what we are as human beings. I'm now called a jazz musician, even though I started as a reggae musician. You can play jazz and incorporate reggae or Indian influences (say) - all the soul music in this world.
"I try and play music for now, not in past styles, so it's a modern attempt at jazz music...
"I'm Britain's number one-selling jazz artist and nobody wants to give me a record deal. Jamie Callum, a young white pianist, has signed a deal for £1 million to the same label that is looking after my material. You can't make money out of black artists, so it is just not going to happen. Take this whole 'urban' thing now. That's what they call it because they don't want to call it 'black' music."
I suspect the issue also involves arcane music biz definitions about what they think of as 'commercial' (Pine isn't supposed to fit the bill, whatever his influences), and the question of TV and advertsing spin-offs. Nothing to do with anything so imaginative as music, of course...
Courtney Pine's new album, 'Devotion', is out now.
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Wednesday, October 01, 2003
[205.2] MORE INNER NOISE
Asaf Sirkis and the Inner Noise are live at the Tap 'n' Tin, 24 Railway Street, Chatham, Kent, UK on 8 October 2003 at 8.30pm. Door £5. Tel. 01634 362704, 01634 847926. The band, who fuse jazz with rock, classical and Eastern influences, comprise: Steve Lodder - Keyboards; John Parricelli - Guitar; Asaf Sirkis - Drums. New CD available now on: www.jazzcds.co.uk.
Lodder is well known for his association with British saxophonist Andy Sheppard and a host of top-ranking contemporary music performers and composers.
More information on Inner Noise is available at Sirkis' website.
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Asaf Sirkis and the Inner Noise are live at the Tap 'n' Tin, 24 Railway Street, Chatham, Kent, UK on 8 October 2003 at 8.30pm. Door £5. Tel. 01634 362704, 01634 847926. The band, who fuse jazz with rock, classical and Eastern influences, comprise: Steve Lodder - Keyboards; John Parricelli - Guitar; Asaf Sirkis - Drums. New CD available now on: www.jazzcds.co.uk.
Lodder is well known for his association with British saxophonist Andy Sheppard and a host of top-ranking contemporary music performers and composers.
More information on Inner Noise is available at Sirkis' website.
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Monday, September 29, 2003
[204.1] WIRE TAPPING
That arbiter of critical-edge musical taste, The Wire, goes up in price to £3.60 an issue (unless you subscribe at a preferential rate) this month. Still a bargain at the price, no matter how modishly irritating it can be from time-to-time. An added incentive this time is a free double CD, number 10 in their sampler series, which features thirty ear lobe sized morsels from a vast array of (obscure and) creative musicians. You'll have heard of David Sylvian (a track from his new album, the first since 'Beehive' in 1999) and Jah Wobble, at least.
October's print fare includes a good feature on 'lost recordings', not least those of Miles Davis. Positively mainstream, eh fellas...?
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That arbiter of critical-edge musical taste, The Wire, goes up in price to £3.60 an issue (unless you subscribe at a preferential rate) this month. Still a bargain at the price, no matter how modishly irritating it can be from time-to-time. An added incentive this time is a free double CD, number 10 in their sampler series, which features thirty ear lobe sized morsels from a vast array of (obscure and) creative musicians. You'll have heard of David Sylvian (a track from his new album, the first since 'Beehive' in 1999) and Jah Wobble, at least.
October's print fare includes a good feature on 'lost recordings', not least those of Miles Davis. Positively mainstream, eh fellas...?
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Friday, September 26, 2003
[203.1] NOTHING BORROWED, SOMETHING BLUE
spnm (which prefers this acerbic abbreviation to the Society for Promoting New Music) celebrates its 60th birthday in 2003 with a season that features both its past and its future. spnm is inviting back more than 10 Vice Presidents, previous Artistic Directors and associated composers to curate individual events, workshops and talks that reflect their experiences of the organisation and their own diverse visions of a musical future. Programming emerging composers with established figures in events across the nation, and with styles ranging from jazz crossover to the avant garde, spnm's season "promotes new music for all."
15 October: Sir Peter Maxwell Davies and the Kreutzer Quartet
21 October: New Music Theatre
23 October: Studio Recital
27 October - 8 November: Wired Up To Wapping
23 November: Home Made Orchestra at London Jazz Festival
26 November: Music | Text | Subtext at Huddersfield Contemporary Music Festival
29 November: Harrison Birtwistle's 'Refrains and Choruses' at Huddersfield Contemporary Music Festival
10 December: Jane's Minstrels at Spitalfields Winter Festival
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spnm (which prefers this acerbic abbreviation to the Society for Promoting New Music) celebrates its 60th birthday in 2003 with a season that features both its past and its future. spnm is inviting back more than 10 Vice Presidents, previous Artistic Directors and associated composers to curate individual events, workshops and talks that reflect their experiences of the organisation and their own diverse visions of a musical future. Programming emerging composers with established figures in events across the nation, and with styles ranging from jazz crossover to the avant garde, spnm's season "promotes new music for all."
15 October: Sir Peter Maxwell Davies and the Kreutzer Quartet
21 October: New Music Theatre
23 October: Studio Recital
27 October - 8 November: Wired Up To Wapping
23 November: Home Made Orchestra at London Jazz Festival
26 November: Music | Text | Subtext at Huddersfield Contemporary Music Festival
29 November: Harrison Birtwistle's 'Refrains and Choruses' at Huddersfield Contemporary Music Festival
10 December: Jane's Minstrels at Spitalfields Winter Festival
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Thursday, September 25, 2003
[202.1] U. R. A WALRUS?
Electric Walrus is "a record label based out of Needham, MA and New Haven, CT, existing for the purpose of releasing music by Alex Temple and related artists. The focus is experimental electronics, avant-rock, genre-bending contemporary 'classical,' etc., but don't hold me to that," says its leading protagonist. The site contains sound samples, details of existing and upcoming projects, and so on.
Temple's newest release is 'Agape Ludens', which he describes as "computer music that draws from noise, avant-rock, classic tape music, industrial, free jazz and contemporary composition." The albums are put outs as CDRs, but with professional packaging -- similar to Burning Shed's approach. Very worthwhile.
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Electric Walrus is "a record label based out of Needham, MA and New Haven, CT, existing for the purpose of releasing music by Alex Temple and related artists. The focus is experimental electronics, avant-rock, genre-bending contemporary 'classical,' etc., but don't hold me to that," says its leading protagonist. The site contains sound samples, details of existing and upcoming projects, and so on.
Temple's newest release is 'Agape Ludens', which he describes as "computer music that draws from noise, avant-rock, classic tape music, industrial, free jazz and contemporary composition." The albums are put outs as CDRs, but with professional packaging -- similar to Burning Shed's approach. Very worthwhile.
Comment on this post: NewFrontEars
Wednesday, September 24, 2003
[201.1] THE EMPEROR'S NEW(ISH) CELLULOID
Avantists extraordinaire, Godspeed You! Black Emperor are (in case you hadn't noticed it) featured in the soundtrack of the latest Danny Boyle (Trainspotting, The Beach) film, '28 Days Later'. The band, whose studious anti-commercialism usually makes them reluctant about tie-ins, agreed to allow Boyle to use 'Easting Hastings' ('Sad Mafioso,' specifically), but regrettably the piece does not appear on the accompanying CD. Apparently it appears briefly in some of the trailers for the film, alongside Brian Eno.
Kitty Empire writes about Boyle's collaboration with Godspeed here. The film was released in the UK last year, and in the US a little later.
"Their febrile, anguished instrumental pieces - sometimes using field recordings of old men ranting about the end of the world - provided a perfect pre-millennial soundtrack ... the sound of impending doom. But Godspeed themselves propose nothing less than a new rock, one that unites the disgust and uncompromising spirit of hardcore punk and a sense of tragedy best expressed by strings. They borrow heavily from the cinematic sweep of Ennio Morricone. Their refusal to give anything away is at once intriguing, heroic and infuriating."
Godspeed You! Black Emperor have no immediate plans to tour outside Canada, their home country, before 2004, I am told.
Comment on this post: NewFrontEars
Avantists extraordinaire, Godspeed You! Black Emperor are (in case you hadn't noticed it) featured in the soundtrack of the latest Danny Boyle (Trainspotting, The Beach) film, '28 Days Later'. The band, whose studious anti-commercialism usually makes them reluctant about tie-ins, agreed to allow Boyle to use 'Easting Hastings' ('Sad Mafioso,' specifically), but regrettably the piece does not appear on the accompanying CD. Apparently it appears briefly in some of the trailers for the film, alongside Brian Eno.
Kitty Empire writes about Boyle's collaboration with Godspeed here. The film was released in the UK last year, and in the US a little later.
"Their febrile, anguished instrumental pieces - sometimes using field recordings of old men ranting about the end of the world - provided a perfect pre-millennial soundtrack ... the sound of impending doom. But Godspeed themselves propose nothing less than a new rock, one that unites the disgust and uncompromising spirit of hardcore punk and a sense of tragedy best expressed by strings. They borrow heavily from the cinematic sweep of Ennio Morricone. Their refusal to give anything away is at once intriguing, heroic and infuriating."
Godspeed You! Black Emperor have no immediate plans to tour outside Canada, their home country, before 2004, I am told.
Comment on this post: NewFrontEars
Tuesday, September 23, 2003
[200.1] DECASIA CANNED
The ever-inventive new music collective Bang On A Can tell us that 'Decasia', to which they contributed the music, is now available on DVD.
"Don't miss this one-of-a-kind film by Bill Morrison, made to music of Michael Gordon. The Village Voice writes, 'Bill Morrison's 'Decasia' is that rare thing: a movie with avant-garde and universal appeal... The film is a fierce dance of destruction. Its flame-like, roiling black-and-white inspires trembling and graditude.' Definitely not to be overlooked."
If you want to catch up with BOAC, the raw data is in the archives. There are upcoming events in Hungary, Austria and (22-25 October 2003) the Brooklyn Academy of Music Next Wave Festival in NY.
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The ever-inventive new music collective Bang On A Can tell us that 'Decasia', to which they contributed the music, is now available on DVD.
"Don't miss this one-of-a-kind film by Bill Morrison, made to music of Michael Gordon. The Village Voice writes, 'Bill Morrison's 'Decasia' is that rare thing: a movie with avant-garde and universal appeal... The film is a fierce dance of destruction. Its flame-like, roiling black-and-white inspires trembling and graditude.' Definitely not to be overlooked."
If you want to catch up with BOAC, the raw data is in the archives. There are upcoming events in Hungary, Austria and (22-25 October 2003) the Brooklyn Academy of Music Next Wave Festival in NY.
Comment on this post: NewFrontEars
Monday, September 22, 2003
[199.1] RADIO NON-GA GA
Ever popped along to Kalvos and Damian's fabulous New Music Bazaar? Hosted by Dennis Báthory-Kitsz and David Gunn ('The Clones of the Wild Enharmonic') it's a net-based, non-pop international network, heard every Saturday from 14:30 to 16:30 EST on WGDR FM 91.1. Previous shows are archived on RealAudio, so there's no reason to miss out.
Last week was Kalvos and Damian's 8th anniversary on line, too. That's 432 shows broadcast, 188 guests already heard from (some several times), 47 newly recorded and ready to be heard, and over 563,000 site visitors.
There's also a new site-wide search feature. K&D is essential listening for the creative music fraternity.
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Ever popped along to Kalvos and Damian's fabulous New Music Bazaar? Hosted by Dennis Báthory-Kitsz and David Gunn ('The Clones of the Wild Enharmonic') it's a net-based, non-pop international network, heard every Saturday from 14:30 to 16:30 EST on WGDR FM 91.1. Previous shows are archived on RealAudio, so there's no reason to miss out.
Last week was Kalvos and Damian's 8th anniversary on line, too. That's 432 shows broadcast, 188 guests already heard from (some several times), 47 newly recorded and ready to be heard, and over 563,000 site visitors.
There's also a new site-wide search feature. K&D is essential listening for the creative music fraternity.
Comment on this post: NewFrontEars
Sunday, September 21, 2003
[198.2] OMM IN THE DARK
Much publicity surrounded the launch of OMM (Observer Music Monthly), "the first British magazine published by a British newspaper." Why, even NFE gave it an anticipatory plug. In the actual product, which landed on my mat this morning, editor Caspar Llewellyn Smith wasted little time (and a whole column) telling us all how ab fab it all is: "the best in music from around the world", "the sharpest, funniest writers", "a magazine reflecting such diversity with style and authority is long overdue."
You can boast, Welly. You did in fact. But the content is dismal in its total predictability. Oooh, here's Britney! And Blur! And Bowie! and Dizzee Rascal! And a bit of hip hop! And "African pygmies" making weird noises in "the world's scariest place"! Still awake? Well, how about a bit of tokenism towards 'special interests'? Billie Holiday for yer dad. Arvo Part tacked at the end of a 'best albums' list, 'cos he's classical but kinda laid back, right? And tiny bits on Nusrat Fateh Ali Khan (exotic!) and the Esbjorn Svennson Trio (jazz!).
Next, I suppose, they'll be telling us that The Darkness are post-ironic and having a daring pop at proggies in the highly innovative 'Lost Tribes of Pop' column.
Meanwhile... what did Saddam have on his Walkman when the bombs began to fall? Why does Carole Caplin find Andy Williams "simply inspirational"? Is John Tavener the new Marc Bolan? Just what did Paul Morley throw up twice at breakfast? Will Norah Jones ever play with the Beatles like her dad? OMM looks the sure-fire place to find out. Just don't mention "music". Except in the title. 'Cos it sells well, apparently.
(OK CD, though.)
Comment on this post: NewFrontEars
Much publicity surrounded the launch of OMM (Observer Music Monthly), "the first British magazine published by a British newspaper." Why, even NFE gave it an anticipatory plug. In the actual product, which landed on my mat this morning, editor Caspar Llewellyn Smith wasted little time (and a whole column) telling us all how ab fab it all is: "the best in music from around the world", "the sharpest, funniest writers", "a magazine reflecting such diversity with style and authority is long overdue."
You can boast, Welly. You did in fact. But the content is dismal in its total predictability. Oooh, here's Britney! And Blur! And Bowie! and Dizzee Rascal! And a bit of hip hop! And "African pygmies" making weird noises in "the world's scariest place"! Still awake? Well, how about a bit of tokenism towards 'special interests'? Billie Holiday for yer dad. Arvo Part tacked at the end of a 'best albums' list, 'cos he's classical but kinda laid back, right? And tiny bits on Nusrat Fateh Ali Khan (exotic!) and the Esbjorn Svennson Trio (jazz!).
Next, I suppose, they'll be telling us that The Darkness are post-ironic and having a daring pop at proggies in the highly innovative 'Lost Tribes of Pop' column.
Meanwhile... what did Saddam have on his Walkman when the bombs began to fall? Why does Carole Caplin find Andy Williams "simply inspirational"? Is John Tavener the new Marc Bolan? Just what did Paul Morley throw up twice at breakfast? Will Norah Jones ever play with the Beatles like her dad? OMM looks the sure-fire place to find out. Just don't mention "music". Except in the title. 'Cos it sells well, apparently.
(OK CD, though.)
Comment on this post: NewFrontEars
Saturday, September 20, 2003
[197.1] SOUND, FURY AND THE STILL CENTRE
Artists: Duo46
Title: Untaming The Fury
Composers: Lanman, Daniel Adams, Richards, McGarity, Schaefer, Jalbert, Penaman, Flory, Sarre, Garrop.
Label: Summit Records
Catalogue: DCD 346
Annus: 2002
As if to prove that the revived American interest in classical tonality is not simply the reduction of artistic possibility to a 'good chune', Duo 46 (Matt Gould - gtr; Beth Ilana Schneider- vl) tear hugely imaginative patches from the tonal repertoire of the past few centuries, studied and vernacular. Not that they are without their hooks and riffs, too.
Ten composers responded to commissions for a series of demanding chamber miniatures. The result is hugely varied -- from sunny Iberia to melancholic central Europe -- and rarely short of compelling. The scores are all available through Alfieri e Ranieri Publishing.
The temptation in this context is throw as many ideas into a small ring as possible, both for writer and performer. Occasionally these pieces succumb to that temptation. But they can also be profoundly developmental and contemplative at the same time (Russell Sarre).
Gould and Schneider are musicians of rare sensitivity, unforced reflexivity and effortless virtuosity, coaxing unexpected twists and twirls from the Mikhail Robert guitar (1999) and the Alceste Bulfari violin (1985). These performances have a paradoxically controlled yet 'near live feel'. The recording and mastering allows the different accents and colours to flood through. You easily forget that you are listening to just two varieties of wood and string.
Some of the compositions on this disc betray their origins, loves and influences with declamatory force. Others (Joshua Penman's 'Was The Sky As Liquid') reinterpret them with surprising subtlety -- drum'n'bass and Baroque harmony, curiously interwoven.
Duo 46 is all about breaking boundaries - emotional, harmonic, rhythmic, and textural. But there is nothing contrived or forcedly 'transgressive' about either their playing or what they play. 'Untaming The Fury' is ensemble music for grown ups who like to dabble and frolic, but not in a dilettantish fashion. At its heart is perception; a still centre.
And incidentally: if you've ever wondered what a Venn Diagram would sound like, Neil Flory has the answer pinned down in just 7 minutes -- an overflowing circumference of dreams.
On the title track (by Stacy Garrop) the acoustic suddenly flattens. The notes indicate a 9/11 connection. The buck stops here. Each piece is introduced by a pithy liner comment; just enough to leave the ears to do the most important work. Professor William S. Haney's paean of praise lends floridity a new gear -- but you can see his point. The sunny cover is tastefully restrained (but just as atmospheric), in contrast.
I missed Gould and Schneider's debut album, 'FM1: Homage To The Fifties'. Seeking it out is now a clear priority. The duo also works in other contexts (the None and Strung Out Trios, for example) and has performed on four continents. 'Untaming The Fury' encapsulates their art in just over an hour. In their end is their beginning... I shall return to this disc often, I am sure.
Comment on this post: NewFrontEars
Artists: Duo46
Title: Untaming The Fury
Composers: Lanman, Daniel Adams, Richards, McGarity, Schaefer, Jalbert, Penaman, Flory, Sarre, Garrop.
Label: Summit Records
Catalogue: DCD 346
Annus: 2002
As if to prove that the revived American interest in classical tonality is not simply the reduction of artistic possibility to a 'good chune', Duo 46 (Matt Gould - gtr; Beth Ilana Schneider- vl) tear hugely imaginative patches from the tonal repertoire of the past few centuries, studied and vernacular. Not that they are without their hooks and riffs, too.
Ten composers responded to commissions for a series of demanding chamber miniatures. The result is hugely varied -- from sunny Iberia to melancholic central Europe -- and rarely short of compelling. The scores are all available through Alfieri e Ranieri Publishing.
The temptation in this context is throw as many ideas into a small ring as possible, both for writer and performer. Occasionally these pieces succumb to that temptation. But they can also be profoundly developmental and contemplative at the same time (Russell Sarre).
Gould and Schneider are musicians of rare sensitivity, unforced reflexivity and effortless virtuosity, coaxing unexpected twists and twirls from the Mikhail Robert guitar (1999) and the Alceste Bulfari violin (1985). These performances have a paradoxically controlled yet 'near live feel'. The recording and mastering allows the different accents and colours to flood through. You easily forget that you are listening to just two varieties of wood and string.
Some of the compositions on this disc betray their origins, loves and influences with declamatory force. Others (Joshua Penman's 'Was The Sky As Liquid') reinterpret them with surprising subtlety -- drum'n'bass and Baroque harmony, curiously interwoven.
Duo 46 is all about breaking boundaries - emotional, harmonic, rhythmic, and textural. But there is nothing contrived or forcedly 'transgressive' about either their playing or what they play. 'Untaming The Fury' is ensemble music for grown ups who like to dabble and frolic, but not in a dilettantish fashion. At its heart is perception; a still centre.
And incidentally: if you've ever wondered what a Venn Diagram would sound like, Neil Flory has the answer pinned down in just 7 minutes -- an overflowing circumference of dreams.
On the title track (by Stacy Garrop) the acoustic suddenly flattens. The notes indicate a 9/11 connection. The buck stops here. Each piece is introduced by a pithy liner comment; just enough to leave the ears to do the most important work. Professor William S. Haney's paean of praise lends floridity a new gear -- but you can see his point. The sunny cover is tastefully restrained (but just as atmospheric), in contrast.
I missed Gould and Schneider's debut album, 'FM1: Homage To The Fifties'. Seeking it out is now a clear priority. The duo also works in other contexts (the None and Strung Out Trios, for example) and has performed on four continents. 'Untaming The Fury' encapsulates their art in just over an hour. In their end is their beginning... I shall return to this disc often, I am sure.
Comment on this post: NewFrontEars
Friday, September 19, 2003
[196.4] SINFONIA SEASON
The Northern Sinfonia is well-established at The Sage, Gatehead, these days. Their new season of concerts begins on 25 September 2003, and features works by Berio, Stravinsky and Philip Cashian (of 'Dark Inventions' fame). New music director Thomas Zehetmair is pushing the boat out with his programming. Let's hope he pulls it off. The orchestra's imaginative playing certainly has the capacity to enthral and entice. They have an excellent website and a good range of educational activities going.
Comment on this post: NewFrontEars
The Northern Sinfonia is well-established at The Sage, Gatehead, these days. Their new season of concerts begins on 25 September 2003, and features works by Berio, Stravinsky and Philip Cashian (of 'Dark Inventions' fame). New music director Thomas Zehetmair is pushing the boat out with his programming. Let's hope he pulls it off. The orchestra's imaginative playing certainly has the capacity to enthral and entice. They have an excellent website and a good range of educational activities going.
Comment on this post: NewFrontEars
[196.3] BLUR THE EDGES
I have no idea what The Observer Music Monthly (free with the London-based Sunday newspaper) will turn out to be like. But its first issue is published this weekend, and it comes with a free CD from Blur, the indie band who turned left-field at 'Thirteen'. Their new album is 'Think Tank': "Employs cross-rhythms evoking images of the desert and sound textures from unorthodox sources. Blur are now using sounds to create their music rather than the standard rock line-up," says Caroline Sullivan. Deserves a look and a listen, no doubt.
Comment on this post: NewFrontEars
I have no idea what The Observer Music Monthly (free with the London-based Sunday newspaper) will turn out to be like. But its first issue is published this weekend, and it comes with a free CD from Blur, the indie band who turned left-field at 'Thirteen'. Their new album is 'Think Tank': "Employs cross-rhythms evoking images of the desert and sound textures from unorthodox sources. Blur are now using sounds to create their music rather than the standard rock line-up," says Caroline Sullivan. Deserves a look and a listen, no doubt.
Comment on this post: NewFrontEars
[196.2] SYNDICATION?
A number of people have suggested that I syndicate this blog. I'd like to, but I am advised by technical support: "We don't currently offer a way for users to add RSS to their weblogs. We're hoping to add a syndication feature soon." If any readers have better advice, please let me know. Incidentally, the quality of Blogger's service has improved a good deal since Google took it on -- in all but one respect. You now get anonymous, 'press button' responses to enquiries which irritatingly ignore the actual question you've asked.
Comment on this post: NewFrontEars
A number of people have suggested that I syndicate this blog. I'd like to, but I am advised by technical support: "We don't currently offer a way for users to add RSS to their weblogs. We're hoping to add a syndication feature soon." If any readers have better advice, please let me know. Incidentally, the quality of Blogger's service has improved a good deal since Google took it on -- in all but one respect. You now get anonymous, 'press button' responses to enquiries which irritatingly ignore the actual question you've asked.
Comment on this post: NewFrontEars
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