RIP, Robert

Cappuccino Brewing

Now playing on Found Sounds Radio

M. Ward, "Prelude in C Major" (from the Well-Tempered Clavier)

M.w.

Christian Wolff, "For Piano I"

-- Liner Notes from Wergo 60063 --

For Piano I was written for David Tudor with a view to his virtuosity, and first performed by him in February, 1952 in New York. The structure is made of sixteen segments of varying lengths and densities (number of notes in a given length), whose sequence, superposition and recurrence are determined by chance. The choice of notes (out of a total of nine), durations (total 13) and amplitudes (9), and their disposition within a segment were made by the composer. Only segments of zero density, i.e. silence, left no choice.

These limitations allowed a special freedom to the composing: the restrictions once made, the range of choices, though still immense, became particularly clear. The question of what to do next for how long, depending so much on idiosyncratic feeling, was settled in advance. The larger continuity of the piece formed itself, and its expressive content fell in with it.

You Let the Hare Win One Time....

* "You can be rude about the record industry for not reacting fast enough to downloads, but the fact is that that overwhelming change happened years before it expected."

* Ian McEwan: "...it doesn’t suit novelists to be collaborators. We are so used to playing God by ourselves."

* Orchestra director in jail for claiming tax refunds on instruments he never bought.

* Albena Danailova becomes the first female concertmaster at the Vienna State Opera.

* Apparently, the only 'sanctioned' T&A at the Classical Brits were Netrebko's.

* 12-year olds are prodigies at many things, but never the trombone!

Mark Northfield, "Zero"

.m.n

65daysofstatic, "Dance Parties [Distant]"

on tour w/ The Cure now

Jean Dubuffet, "Prospère, prolifère"

-- Liner Notes Continued --

I am, however well aware of the gap between my intentions and the actual results. The experiments which are available in the small collection of records should be considered as outlines for a programme which, if it were to be finalized, would require a lot of improvements such as enhanced recording techniques and better use of each of the instruments. It might also be necessary to modify the instruments or make better adapted ones.

In the meantime, there is still a lot of room for experiment with what is already available. With any instrument one comes across one can get such a great variety of sound effects that it may not be worth looking for others. Instrumental technique and a thorough knowledge of how to get the most from the instruments are clearly sorely lacking; I am very aware that they would be of great use to me.

It might be, however that this would lead to the loss of the benefit of certain unexpected windfalls which can come of improvising on an instrument one doesn't really know how to use. Having said this, the tracks included on this record were not intended as finished works but as the initial experiments of someone venturing into what is for him, largely unfamiliar territory. I would very much hope that musicians accept to treat them as such.

Jean DUBUFFET, April 1961
Translation by Matthew Daillie

This Is Ivy League, "Crown of Love"

TIIL

Bram Stoker's 'Die Fledermaus'

* Franz Welser-Moest wants no part of a vampire-tinged production of Strauss' operetta.

* "Perhaps bowing should be a part of the training when studying."

* "Beethoven, As I Knew Him: A True Story" premieres this month.

* "...among the very few composers who can reliably sustain an entire concert programme, the greatest has to be Bach."

* Ward Stare named resident conductor in Saint Louis.

* How the Chinese media covered the papal concert.

* RIP, Frances Yeend.

* Warner Music's sales rose 2%, but its stock dropped 29%.

Says Who?

* "Edwardian musical comedy has not aged well."

* Helmuth Rilling doesn't know how many times he's recorded the B Minor Mass.

* Gergiev: "I don't conduct more than five to six orchestras a year, which is a very small number, I believe there are conductors who conduct 30 or 40."

* Berg invented hip-hopera, y'all.

* A children's opera performed by children.

* Nathan Gunn shills for MET in HD on the Colbert Report:

Will 'Out-Of-Print' Go Out Of Style?

* Amazon's CreateSpace offers print on demand of old titles.

* "the BBC banned "Don't Let's Be Beastly to the Germans", because it was actually a bit beastly to the Germans."

* "The performing practices of the 20th century have actually destroyed a lot of the good things of the old style."

* The symphony as a symbol of Germany.

* MET screenings sell out down under.

* Warwick Thompson sees the influx of cinema directors as bad for opera.

Jean Dubuffet, "Terre foisonnante"

-- Liner Notes Continued --

The first tape produced in these circumstances is rather unusual as it is a poem, La fleur de barbe, which is declaimed, chanted and vaguely sung by several voices mixed together (which are all in fact mine) with occasional instrumental accompaniment. The subsequent recordings are the result of two diverging approaches which I hesitated between and which are probably both apparent in at least some pieces. The first was an attempt to produce music with, a very human touch, in other words, which expressed people's moods and their drives as well as the sounds, the general hubbub and the sonorous backdrop of our everyday lives, the noises to which we are so closely connected and, although we don't realize it, have probably endeared themselves to us and which we would be hard put to do without. There is an osmosis between this permanent music which carries us along and the music we ourselves express; they go together to form the specific music which can be considered as a human beings. Deep down I like to think of this music as music we make, in contrast to another very different music, which greatly stimulates my thoughts and which I call music we listen to. The latter is completely foreign to us and our natural tendencies; it is not human at all and could lead us to hear (or imagine) sounds which would be produced by the elements themselves, independent of human intervention. They would be as strange as what we might hear if we were to put our ear to some opening leading to a world other than our own or if we were to suddenly develop a new form of hearing with which we would become aware of a strange tumult that our senses had been unable to pick up and which might come from elements which were supposedly involved in silent action, such as humus decomposing, grass growing or minerals undergoing transformation. I should point out that in both these categories of music and even when I blend them into one and the same (never mind if this seems illogical), there is a clear preference for very composite sounds which appear to be formed by a great number of voices calling to mind distant murmurs, communities, hustle and bustle and hives of activity. I also have a preference for music without variations, not structured according to a particular system but unchanging, almost formless, as though the pieces had no beginning and no end but were simply extracts taken haphazardly from a ceaseless and ever-flowing score. I must admit that I find this idea very pleasing.

Barenboim's Baton Passes To Muti

* A couple of hours ago, the Tribune reported that the CSO was holding its cards close to the vest, but the announcement just came out that they have in fact hired Ricardo Muti.

* Mozart gets his Saudi Arabian debut in a truly revolutionary concert.

* Dominic Muldowney's new piece isn't crossover.

* Nathaniel Stookey: "every composer you can think of is dead."

* Congratulations to John McDonald, Shepherd Distinguished Composer of the Year.

* Rachel Portman's The Little Prince premiered on the West Coast this weekend.

* Kirke Mechem’s opera about John Brown premiered this weekend, too.

* San Diegoans (San Diegans?) get their choice of 5 operas next year: Don Quixote, Peter Grimes, Tosca, Rigoletto, and Madame Butterfly.

Jean Dubuffet, "Longue peine"

-- Liner Notes Continued --

As for the tape recorder, I was a complete novice. It was only later on that I was to realise that my recordings, done on amateur equipment, left a lot to be desired compared to those carried out by professionals. Strangely enough, however I am not convinced that the latter are really superior. Similarly, I often prefer photographs taken by poorly equipped amateurs than those of specialists. In my subsequent dealings with technicians, I felt that the downside to certain benefits of the care they took in setting-up their equipment, was an inhibiting effect; even if the resulting recordings were very clear and free of flaws and hiccups, they weren't necessarily any more evocative. I believe that all spheres of the arts could benefit from using simpler techniques. I also believe in getting down to basics, I am all for rugged and unaffected charms rather than frills and furbelows. There is another more important reason for my attitude. We consider that a good recording provides precise and distinct sound which seems to be coming from a close source; in our daily lives, however our hearing is submitted to all sorts of other sounds which, more often than not, are unclear muddled, far from pure, distant and only partially audible. To ignore them is to give birth to a specious artform, exclusively concerned with a single category of sounds which, when it comes down to it, are pretty uncommon in everyday life. I was aiming to produce music based not on a selection of sounds but on sounds that can be heard anywhere on any day and especially those that one hears without really being aware of them. My rudimentary equipment was better suited to this than the most sophisticated machines. Having decided to collect and use whatever kinds of sounds I came across, the sometimes unexpected sounds which in I, tape recorder played back to me were at least as interesting (and sometimes more so) than those I had actually intended to record. When the surprises were in my opinion uninteresting, I rubbed them off, but sometimes they were incredibly good. I transformed a room in my house into a music workshop and in the periods between our get-togethers with Asger Jorn I became a one-man band, playing each of my fifty-odd instruments in turn. Thanks to my tape recorder I was able to play each part successively on the same tape and have the machine play everything back simultaneously. I went about it step by step, recording over the bad sections and using scissors and sticky tape to cut, join and put everything together Such a method entails a lot of trial and error: as it was impossible to hear what I had already recorded when playing a new part, it was very tricky to synchronize them and, struggling to get exactly what I wanted, I had to start over and over again. Nevertheless, the fact that it was so difficult to keep things under control and that I had to trust to luck meant that the risks of failure were offset by the possibility of unexpected surprises. I later added a second tape recorder which enabled me to transfer material from one machine to the other, to play whilst listening to what had already been recorded and to make as many changes as I liked without spoiling the initial recording when the new elements proved disappointing.

Son Lux, "Break"

s.l.

"Toed the party line today..."

* Volume 2 of Prokofiev's diaries is out.

* Corigliano: "I'm always dazzled by percussion concertos, but afterwards I can't remember a single thing about them except that they were exciting and had lots and lots of notes."

* Vivaldi's Argippo gets its second production in three centuries.

* BBC's Young Musician contest turns 30.

* MSN's Music Store died a well-deserved death. Now, the EFF is pissing on the corpse.

Setting Aside One Bit of Genius For Another

The brilliance of Met Titles is that it's up to the listener whether she wants to turn them on or not. They aren't looming above the stage, distracting you from the action, and for the most part, you can't see your neighbor's. For all you know, he could have his titles off as he sits through his 100th viewing of an opera he knows by heart.

It is a brilliant solution to an age-old hurdle for opera goers. Why on Earth the MET allowed Phelim McDermott to shut them off for Satyagraha is, and apparently shall remain, a mystery.

McDermott's argument is (in a nutshell), "The words aren't important". His view is that the opera is a meditation on the libretto by Constance DeJong, almost in the way one might meditate on a Psalm. Fair enough, but how is that different than any opera?

All you need is a decent actor with a good bass to convey the loss Colline suffers when he pawns his overcoat. No one at a halfway decent performance of La Bohème really needs a word-for-word translation of "Vecchia Zimarra" to catch on to what's happening in that moment.

DeJong's libretto is far from entirely poetical. It relies heavily on scenario and rather protracted speeches (again, the same way any libretto does).

Our chief objection to the abandonment of the titles isn't that it made the opera hard to follow, but that it severely delimited the possible experiences of it. Instead of the listener choosing what to read for himself, we are left with McDermott's choices, as he projects certain words on the back wall of the stage.

For the first 10 minutes, there's bupkis up there, and then all of the sudden, a couple of sentences show up. So, there's an immediate, forced shift to reading mode, and then back to contemplation when they disappear. As the opera progresses, you start to wonder how McDermott is choosing which fragments of the text to project, and it all adds up to an enormous distraction. Just leave the Met Titles on and be done with it! We guarantee it would give folks like this a better time.

McDermott's emphasis is puzzling in more ways than just this business with the libretto, though. Gandhi's intellectual cousins hover over the scene in cutouts on the back wall. First, it's Tolstoy scribbling away at a desk. Then it's Tagore, and finally, a very Obama-looking MLK. But this poor schmo has to climb a ladder and stand on a pedestal in the middle of the stage for the better part of a half hour, waving his arm in the air in vaguely Hitlerian gestures (MLK never waved like that).

All of the eloquence of the Tolstoy/Tagore references evaporates when Gandhi embraces the base of the podium. McDermott is slathering on a virtual baton passing which, again, becomes obnoxious in the way it pulls focus.

For the most part, the pantomime works brilliantly, but as with everything in this production, the balance is way off. The most arresting image on the MET stage this decade is the entrance of the puppets in the second act. It is a heart stopping moment, but as soon as they walk onstage and loom over Gandhi, they are gone.

However, the rather cute, but trivial, idea of lacing the stage with packing tape goes on for a solid 10 minutes. Once the gag reaches its limit, the tape is gathered up into a vague stick figure, balled up and then flown offstage. Whatever for? It might have worked if the flying offstage bit hadn't shown up already in an earlier scene.

And for Vishnu's sake, don't get us started on all the slow motion movement!

Though the whole Satyagraha experience is frustrating enough to warrant a few hundred words worth of griping, none of this impacts the bottom line, which is that it is an extraordinary evening. Tonight is the last performance in this run, and with any luck it will come back many, many times.

Ogling Orff

* O₂ is hip to the fact that the only way to make Carmina Burana interesting is to throw naked girls, bungee cords, and fireworks at the thing.

* Stephen Paulus is 'one of the few composers who lives entirely from writing commissioned music'.

* Apparently, Handel had quite the pimp hand.

* Rattle is doing Stockhausen in an aircraft hangar, and Berlin is beset by bickering.

* RIP, Marios Tokas.

* China Philharmonic to play for Pope Benedict.

* Congratulations to Joel Smirnoff, the next head of CIM.

* Parking is more important than most producers realize.

* Kristjan Jarvi: "The only reason I believe that classical music concerts have become stale is that...freedom and ingenuity is lacking."

* Someone found Roger Waters' pig.

* Clear Channel dives into social networking.

Underground Mozart

(Report in English)

Welcome To The Party, Pal!

* 3 days later, the Henry Brant obits finally start to appear outside the blogosphere.

* "People clearly see a man standing up there and it's shocking to hear a woman's voice. But I'm creating a fantasy for them..."

* Daniel Kellogg gets recognized at the zoo.

* Columbus Symphony coasts to the end of its season on fumes provided by an anonymous donor; musicians pose the biggest threat to the orchestra's future.

* Melbourne Symphony's 2008 new music schedule.

* The builders of Oslo's new opera house didn't take the needs of pianists and double bassists to heart.

* The Czech children's opera that emerged from the Holocaust.

* "All classical music happens in a bubble. The conventional view is that it needs to be protected from criticism (or any response at all, really) from anyone not entirely invested in the world of classical music. The understanding is these external views will create a pressure that will compromise, or destroy, this music."

Daleks & Humans Alike Bow Their Heads (or the nearest equivalent)

* RIP, Tristram Cary.

* What George Bush really wants to do is conduct.

* Lebrecht: "In 40 years of opera-going in London I cannot remember a moment when new work was so hot..."

* New Zealand's got a new wunderkind.

* Iran's National Orchestra turns 10.

* Brits rock against racism.

* Sony's we7 launches.

* Nokia's music bundle turns out to be a major bungle.

Jean Dubuffet, "Coq a l'oeil"

-- Liner Notes Continued --

At the time, neither Asger Jorn nor myself were au fait with the output of contemporary composers and weren't even familiar with the instigators of serialism, dodecaphony, electronic music and musique concrète. Indeed I only learned these terms recently. My own musical experience was limited to fairly cursory study of classical music on the piano, which I played a lot as a child and teenager and gave up when about 20. Later when I was 35, I took up the accordion and its traditional music (with only moderate success) and went back to the piano for a year when I was about 40 to play music by Duke Ellington, interspersed with improvisations on the harmonium. There followed a period when I took a violent dislike to European music and only enjoyed listening to Eastern and Oriental music (I had become fond of the former during my trips to the Sahara).

RIP, Henry

American musical innovations tend to get overshadowed by European ones. With polytonality, it's Stravinsky who gets the credit for modernizing the concept, even though Ives had done it earlier.

The concept of spatial music was re-popularized by Stockhausen and Boulez, even though Henry Brant had embraced the format a few years earlier.

Jean Dubuffet, "Temps radieux"

MUSICAL EXPERIMENTS -- by Jean Dubuffet

Towards the end of 1960, around Christmas time, my friend Asger Jorn, the Danish painter, invited me round to improvise music with him. I bought a Grundig TK35 tape recorder to capture the spirit of our get-togethers and the first recording of our recreations, done on 27th December was entitled Nez cassé (Broken nose). Many more were soon to follow as we were both so enthralled by these musical experiments that our improvisation sessions were very frequent over the succeeding months. Asger Jorn had a fair bit of experience with the violin and the trumpet; I had a singular experience of the piano which I had made much use of in former times. However the sort of music we had in mind hardly required virtuoso technique as we intended to use our instruments to obtain unconventional effects. In addition to a pretty bad piano, we started off with a violin, a cello, a trumpet, a recorder a Saharan flute, a guitar and a tambourine. We gradually added all sorts of other instruments, some of them out-dated (old-fashioned flutes, a hurdy gurdy), some exotic (of Asian, African or Tzigane origin), some more common -such as the oboe, saxophone, bassoon, xylophone, zither - and some of folk origin, such as the cabrette and the bombarde - basically, whatever we discovered as we went along. The musician Alain Vian, who has a shop rue Grégoire-de-Tours in Paris selling strange and rare collector's instruments, was of great assistance; he not only took part once or twice in our little concerts but also managed to find, and sometimes even make, suitable instruments for us.

RIP, Humphrey

The Amadeus of Porn

30 Rock did an extended parody of Amadeus last night after Tracey Jordan discovered that his children were ashamed of his career as a comedian. He grows desperate to make a meaningful contribution to society so they will be proud of him.

His solution? To combine his two great loves: porn and video games.

One of the geekiest writers on the show explains to him that it can't be done. He demonstrates to Tracey that the more realistic animated humans get, the more creepy they get (see Tom Hanks in Polar Express). No one can make a porn video game that people will want to play.

Tracey is convinced he can marry the formats, despite the warning, and the whole bit turns into an extended Mozart/Salieri riff:

We Don't Have To Take Our Clothes Off To Have A Good Time

* How To Look Good Naked (While Playing In An Orchestra).

* South Africa's OperaMania works sex, drugs & rock 'n roll (by way of Meatloaf) into their productions, and oh yes, there was nudity.

* Sibelius plaque to be affixed to Marienstrasse 4 in Berlin today.

* Music NOW 08-09.

* ASIMO to conduct Yo-Yo Ma in Detroit.

* Grand Rapids to get an opera house. Still waiting to get their primary votes counted.

* Seoul's Chamber Music Festival turns 3.

Tin Pan Quicksand

Today saw 2 notable cartoons in the classical blogosphere. One was the latest installment in Soho the Dog's utterly brilliant Mahler & Strauss series.

The other was a much cruder diagram of sorts by Brian Sacawa, which was accompanied by a refreshing look at the abyssmal state of music publishing (No offense intended to your drawing skillz, BS!)

Brian's comical plight involving a simple arrangement of an open score and a one dollar bill is an excellent snapshot of the bizarro world which is music publishing. Toiling as we do in the least profitable end of the publishing spectrum, you'd think someone would make things easier for us.

To wit:

Last year, we noticed that a famous British composer had written a piece for solo trumpet, and we decided we wanted to perform it on our ARTSaha! festival (For the sake of all parties involved, let's call the composer Mark-Anthony Turnage).

As per usual, it took about 15 minutes to track down the appropriate representative on the publisher's website (Again, to keep this totally professional, let's call the firm...say...Boosey & Hawkes).

We sent an email query about the piece on April 18, 2007. At that point, ARTSaha! was five months hence. We felt we were Johnny on the spot, but having danced this polka so many times in the past, we should have known better.

We should have known that when we got an email the next day from a very nice B&H employee telling us that they did, in fact, sell An Aria (with Dancing) for £7.50, and asking if we would kindly email our billing/shipping information so they could send us the score, it was too good to be true. This was, after all, a relatively new score by a living composer. The days of song pluggers playing their wares in storefront windows are long gone.

Want new music these days? You better be prepared to suffer.

However, we really can't stress enough the politeness of this B&H representative. NYC had just been hit by a nor'easter, and he inquired about it, saying they'd heard the most dreadful things about it across the pond.

Well, life happened, and before we knew it, two months had passed and no Turnage in the mail. Then, quite strangely, we received a bill in the mail for the score. That seemed odd since our Boosey man seemed happy to conduct the transaction via email. He apologized for the invoice, and said, yes indeed, all he needed was an email with our info and the score would be printed in two weeks. He promised that at the latest the score would arrive by July 9. At that point, the festival would still be two months off, and we felt confident we could prepare the score in time.

July 9 came and went, and still no score. We began to feel that Mr. Turnage could have dictated the piece to us over the phone, and we'd have devised a more efficient delivery method. Another polite email to our man in London yielded another polite apology. Then a flurry of irritated emails to Boosey's Production Department ensued, on which we were cc'ed to insure we were noticing all the effort exerted on account of our order, which was, at this point, 13-1/2 weeks old.

Finally, a UPS tracking number was provided, and three days later on August 17, our very own copy of Turnage's piece was in hand. Our lead time for preparing this moderately difficult work had been whittled down from five months to three weeks; so, a performance proved impossible, especially since those three weeks are chock full of production work on the festival.

Undoubtedly, Mr. Turnage must be thrilled that his publisher is serving him so well.

Mathemusicality

* orchestra+

* Pavarotti x 2 = Juan Diego Florez (OR 18 high c's in "Pour mon ame").

* RIP, Bebe Barron.

* It's evaluation time for Rattle in Berlin.

* 'The Fragmented Orchestra' wins the PRS Foundation New Music Award 2008.

* The only place less musical than Salzburg these days is Vienna.

Jean Dubuffet, "La fleur de barbe"

From the CD Jean DUBUFFET Expériences Musicales / Musical Experiments (via www.ubu.com)

PRODUCER'S NOTE

Jean DUBUFFET'S "musical experiments" form a set of 20 pieces, 9 of which have been chosen for this disc.

This selection was made with regard to the "historical" interest of certain works (La fleur de barbe, 1st publicly performed piece - Gai savoir, 1st work using 2 tape recorders - Terre foisonnante, and Prospère, prolifère, his last musical works which were mixed in the recording studio) and with the aim of providing the listener with the widest possible range of the various "instruments" used.

As the different elements which combined to make up these works were recorded using monophonic techniques, they were all produced in mono during DUBUFFET'S lifetime.

We were lucky enough to be able to use the master tapes for Terre foisonnante and Prospère, prolifere, which were mixed in the recording studio; the elements for the final mix were on two distinct tracks and we have decided to keep them separate so that the listener can better appreciate the procedure employed by the composer.

Similarly, we have not tried to artificially "enhance" the sound quality of these recordings (by adding reverberation, for example) as Jean DUBUFFET who was fully aware of his own (and his equipment's) technical shortcomings, considered the imperfect quality as a random but significant aspect of the end product. Admittedly some of the endings, especially, will appear particularly sudden. To conclude these technical considerations we should point out that one of the tracks in Terre foisonnante fades out before the end; it continues in mono and this is not a sign of a defect in your listening system.

Say What?!

* Esprit Orchestra premieres new Colgrass piece for amplified harpsichord and altered piano while claiming to be 'the world’s only symphony orchestra that specializes in playing music of our time'.

* New Music Award Shortlist.

* Peter Maxwell Davies is on about Scottish independence again.

* Meet The Really Terrible Orchestra.

* ACO sez Ruby Fulton, Takuma Itoh, Andrew McKenna Lee, Leanna Primiani, Conrad Winslow, and Roger Zare are the balls.

Balzac's Brooklyn

"By 1867...there were still patches of ground, especially in Central and Eastern Europe, where artists had not yet wholly cast off the status of servant. But in Western Europe and the United States, they could make friends with, and marry into, the upper middle classes or the gentry, and make grand claims of their vocation...

...it did not take much for the cult of art to blossom into the cult of the artist...the cult of oneself...

...By this time, the pathetic caricature of the artist and his bitter struggles with poverty and neglect, though fading in reality, remained a familiar protagonist in fiction. In the literary imagination at midcentury, he was the destined outsider, the victim of the philistine present and the prophet of a less commerce-ridden future. Balzac's Le Chef d'oeuvre inconnu, the model for the genre, with its artist doomed never to finish his masterpiece, dates back to 1831. One of its best known offspring, Manette Salomon of 1867, was the Goncourt brothers' contribution to this literature...Manette Salomon follows the fate of artists, two of whom seek only the truth of the modern. But both necessarily fail: society is too strong and too vulgar for them to realize their ideals. One is compromised by his inability to sustain the necesssary quasi-religious asceticism--that is, the authentic religion of art..." -- Peter Gay, Modernism

Yesterday, a birthday party forced us to visit what has been described as Hipster Disney World. In other words: Williamsburg.

Truth be told, it reminds us more of Catholic school where everyone is in uniform.

The first thing we heard out of the subway station was one hipster saying to his two companions, "She's never seen Blade Runner. He's never seen Mad Max. It's a wonder I can hold a conversation with either of you!"

Ah, Brooklyn and its 'necesssary quasi-religious asceticism'...

The thing that mystifies, aside from the dread persistence of skinny jeans' deathgrip on hipsters, is why this archetype perpetuates itself in the first place. It was played out before the last century even started!

Turn on the Red Light Tonight

We're looking forward to tonight's concert by the Red Light Ensemble. It's a program of world premieres from young composers, and we've been listening to Scott Wollschleger's music to prepare. It's fun stuff.

Tonight's Program:

NEWLY COMMISSIONED WORKS
The Red Light New Music Ensemble
Ted Hearne, conductor

8:30 pm on Saturday, April 19, 2008
Hungarian Cultural Center
447 Broadway (at Grand St) (N,R,Q,W to Grand St)
www.redlightnewmusic.org / www.hifimusicfestival.org / www.culturehungary.org
$10, $5 students and seniors

CHRISTOPHER CERRONE Requiem (for K.V). (New York premiere)
SCOTT WOLLSCHLEGER Novella 2 (World premiere)
A. VINCENT RAIKHEL explore possible futures (World Premiere)
LIAM ROBINSON Cycle Song (World Premiere)
EVAN JOHNSON Auschnitte (New York Premiere)

Nursery of Naughtiness, "The Requiem"

non

Maurice Ohana, "Two Studies for Piano and Percussion"

Etude d'interpretation No. 11 (1983) - 11'39
(Sons confundus)

Etude d'interpretation No. 12 (1983) - 6'03
(Imitations - Dialogues)