Evening Music

Three out of Four Ain’t Bad?

May 12, 2008 – 4:17 pm

Charles Wuorinen
Charles Wuorinen

New York’s Orpheus Chamber Orchestra recently commissioned music from composer Charles Wuorinen. Wuorinen delivered a four-movement composition, each movement of which features prominently one of the ensemble’s extraordinary players. The first movement was written for the ensemble’s bass player, one of the founding members of the Orchestra and a world-renowned musician. Due to death in his family, the player was unavailable and the first movement of the work couldn’t be performed at the scheduled New York premiere May 10th. Thus, the orchestra performed only the last three movements (you can read the text of their press release here).

There are those who would say that a partial performance of a work is disrespectful to the artist and their work; others believe that once an artist’s creation is delivered it is completely in the hands of the presenter/interpreter. Sometimes parameters are established through legal documentation. But beyond the legal language, whose work is it anyway? Your thoughts!

South Africana

May 12, 2008 – 7:00 am

A scene from "Sizwe Banzi is Dead" (Pascal Gelly/Agence Bernard)
Sizwe Banzi is Dead

Commentator John Rockwell examines two recent performances of South Africana: Pieter-Dirk Uys’s “Elections and Erections” at Harvard and the revival of “Sizwe Banzi is Dead” at the Brooklyn Academy of Music, and looks into his own role in the field some ten years ago while at the Lincoln Center Festival.

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Mother of Music

May 9, 2008 – 6:56 pm

bgarland1b.jpg
 
I think it’s safe to say that Evening Music listeners are music lovers. At some point in your past you had a musical experience that changed you, that opened you to the power of music.
 
For me it probably happened at some of the concerts I saw when I was young: the British band Soft Machine opening for the Jimi Hendrix Experience in 1968, or Rahsaan Roland Kirk performing with the Mothers of Invention the next year. Or seeing a performance of Carl Orff’s “Carmina Burana” in which my father sang.
 
bgarland2b3But before those musical encounters outside my home, there was the music inside my home. Music was very important to my parents, especially my father, Kenneth Garland. He was an advertising executive, but I understood—because everyone who knew him understood—that he loved music. He sang classical music and popular songs, accompanying himself on the piano. My mother, Barbara Garland, enjoyed acting, and many times my parents were the leads in local theater productions in Lexington, Massachusetts. And they sang the lead roles in a series of locally-created (and quite good) musicals. That’s Mom kneeling on stage in the photo, circa 1960. My father took the other photos before I was born.
 
bgarland3b3On this Mother’s Day weekend I think back to what seemed at the time to be an average childhood: coaching my mother on her lines, watching my parents rehearse, hearing them sing, seeing the joy of their creative work with friends, and knowing that they loved what they were doing. I’m aware now that my childhood (which I shared with my brother Chris) wasn’t average, and I’m so grateful for that unusual environment, where creativity was an everyday joy.
 
Mothers are the font of all music. With tuneful words of affection and with lullabies, they are the origin of music for each of us. They help establish the musical world we grow into, and our receptivity to it.
 
What tuned you in to the power of music? Mother’s lullabies? A concert? A particular song? Something you heard on the radio? Please leave a comment.
 
And thanks to all of you who responded to this Blog over the last two weeks. In your answers to my question, “what are doing as you listen to Evening Music?” a fascinating group portrait was created, one which I imagine can be as interesting to you as it is to me (see below).

Politics and Beer

May 5, 2008 – 2:37 pm

Since last Wednesday I’ve gone to three concerts and watched one basketball game. Two concerts were in honor of Frederic Rzewski, a composer whose music is often socially and politically charged. For Thursday’s concert at Carnegie, the contemporary music ensemble Opus 21 honored the 70 year old composer by performing his seminal piece “Attica” — a composition dealing with the murders of inmates and guards during the 1971 prison riot in Attica, New York. Later that evening Rzewski sat at the piano and played the New York Premiere of his recent composition “War Songs”. “Natural Things”, another premiere, featured an instrumentalist tediously bouncing a basketball.

Frederic Rzewski
Rzewski

Last Friday night at the Brooklyn Lyceum, the ensemble Newspeak honored Rzewski in a concert that presented an amplified, “rocked out” presentation of “Coming Together” (the companion piece to “Attica”), as well as works by local composers influenced by Rzewski. There was also a Q&A with Rzewski, myself, and David T. Little (see the video clip below).

Here, you can listen to two of the Rzewski pieces performed by Newspeak, recorded live (special thanks to David T. Little):
Coming Together

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The Price of Oil

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DownloadVideo Clip: Me, David T. Little, and Frederic Rzewski

 
From the Brooklyn Lyceum, it was on to Saturday night at the Apollo, for Klezmer Clarinetist David Krakauer, along with funk/soul trombonist Fred Wesley. Fred Wesley was a long-standing member of the James Brown Band but also played with many bands I listened to while growing up in Cleveland. The Wesley-Krakauer project was presented in honor of James Brown’s birthday and also honored and successfully melded various musical styles and cultures.

McKnight/Wesley
Me and Fred Wesley at the Apollo
DownloadHere’s a Video Clip from the Concert

 

Funny video on Funnyplace.org - Pig
click to watch

Now on to more bouncing balls and my recent observation: During the Atlanta/Boston game there was a commercial that depicts a place of utopia called “beer heaven.” The beer was seemingly free, the crowd was Caucasian, the games were rigged, the servers were women and the one black person in the room was the bartender.
 
For those of us believing in an ideal place, an afterlife of paradise, we’re all challenged to rid ourselves of the notion of social structures,and even ideals of high art vs. low art. Evening Music is one earthling’s attempt to ready the heart, soul and ear of the listener. A bit of musical heaven on air? Your thoughts!

Dancing Up a Storm

May 5, 2008 – 8:42 am

Sheu Fang-yi (Photo by Wang Yi-Sung)
Sheu Fang-yi

Multiculturalism is heating up the dance communities, with performers of far-ranging descents bringing their traditions and styles to bear on our American scene. Commentator John Rockwell considers two excited cases: Taiwanese-born, Martha Graham-technique trained Fang-Yi Sheu and London-born, but of Bangladeshi-descent, Akram Khan.

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Whatcha Doin’?

May 2, 2008 – 7:00 pm

Life Examined
Anne Garland | Flickr

I was so intrigued by your responses to last weekend’s Blog, that I want to read more. I invited listeners to tell me what they were doing while listening to Weekend Evening Music. Answers ranged from cooking, relaxing, reading, and solving crossword puzzles while naked, to novel-writing, painting, sewing, biophysics research, having a barbecue, and designing skyscrapers (while fully clothed?).
 
I also asked what type of music suits these activities, and most people seemed to feel that the Weekend Evening Music mix of familiar music and new discoveries works well. There seemed to be a preference for contemplative music. Some of you clearly enjoyed the Friday night film music feature (each Friday at 10 pm). I felt like I was getting to know the Evening Music community a little better.
 
So what about this weekend? Surely some different listeners are listening. Or have your activities or musical needs changed? Whatcha doin’?
 

The Canned and the Dead

April 28, 2008 – 11:11 am

ALT

In Europe they celebrate, in America we mourn. Commentator John Rockwell remarks a national tendency to promote cultural achievements in less-than-cheerful circumstances, whether after a critic’s divorce from its journal, or worse, after a musician’s divorce from… life. In this instance, John considers octogenarian music critic Alan Rich’s recent separation from The Village Voice and composer/conductor Gerhard Samuel’s recent passing.

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Read the transcript


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