Gretchaninoff in the Broad Street Review

Two years ago, just about this time, I was researching Alexander Gretchaninoff for a Fleisher Discoveries show. I found out, to my amazement, that he’s buried in New Jersey, and even more remarkable, next-door to Great Adventure. So I drove over there one Saturday to see if I could find the gravesite, did, and found myself quite moved by the experience. I didn’t know why, so I wrote up a long, meandering post about it to try and figure it out for myself. I thought it was the best thing I ever wrote.

That’s always dangerous.

I’d look at it every few months, and change a word here or there. It was especially on my mind, however, as Easter approached this year. So I looked at it again and sent it off to Broad Street Review, and with the kind attention of Dan Rottenberg’s blue pencil, and a fairly major rewrite, it became manageable enough for posting there.

Here it is.

Looking for the ‘Harp’ Quartet

I didn’t see it, and only read about it later from pundits, but I empathized with Sarah Palin when she apparently booted a question from Katie Couric a couple of years ago. She was asked to name a book she was reading, I believe, and hemmed and hawed in place of an answer. Well, that would happen most days if someone were to ask me. I’m always reading a book, and usually more than one at a time. I read on the train to and from work when I’m not in the last stages of a piece, editing last night’s printouts. So it’s usual for me to stop and start one book, get going on another, and be partially through two at a time; consequently, answering any question like the above will probably start with, “Um…”.

Plus, I’m awful at remembering titles.

But yesterday’s New York Times reminded me of a book I’m reading now. Pam Belluck’s article, “To Tug Hearts, Music First Must Tickle the Neurons” is an attempt scientifically to explain expressivity in music. By measuring speed and loudness and other factors, scientists hope to find out why we think some performances are more beautiful than others. Fascinating stuff.

But while the Times article is a lovely gloss on the subject, if it interests you, I can’t recommend highly enough Markand Thakar’s book Looking for the ‘Harp’ Quartet: An Investigation into Musical Beauty.

I am overwhelmed by the breadth and geniality of his knowledge. It is painstaking and delightful at the same time. Daedalus (a gruff music professor) leads occasional-know-it-all Icarus on a journey to discover where beauty lives in music, using Beethoven’s string quartet. It’s one of the books I’ve wanted to write. If I was smart, that is.

While reading it, I keep saying things to myself, and then Icarus says exactly the same thing. Daedalus then demolishes it, and points in another direction. But every once in a while Daedalus agrees with what I just said to myself, and… O frabjous day! What a jaunt this is. It is rare for schooling to be this blissful.

So, that’s what I’m reading now. Well, was. I’ll get back to it soon, but right now I’m fussing over the ending of The Waking Sun.

Priscilla has a new website

Priscilla Smith, our oldest daughter, has already been a busy musician. She plays oboe, Baroque oboe, Classical oboe, oboe d’amore, oboe da caccia, English horn, let’s see, recorders, shawms, dulcians, and… just about every other historical wind instrument. I saw her play bagpipe once or three times. Well, she’s busier than ever, and just about to receive her Master’s in Baroque oboe performance from Juilliard.

Here’s her new website.

She was in the first class of the new Historical Performance program at Juilliard, studying with Gonzalo Ruiz (here’s the link to his page on Magnatune, of which I know little, except that they have the world’s best business motto: “We Are Not Evil”).

Priscilla’s Master’s recital of mostly French Baroque music was a revelation to me. It not only made Mom and Dad proud, but it opened a lot of eyes (and was well attended, I thought, for a Master’s recital). It also saw the debut of a hot new band. She and her colleagues—cellist Ezra Seltzer and harpsichordist and organist Jeffrey Grossman—created an amazing energy, and maybe it’s the start of something.

We were just up in NYC again a week ago, as Juilliard415, the new Baroque orchestra created from the program, accompanied soprano Dorothea Röschmann and countertenor David Daniels in an all-Handel concert at Carnegie Hall. Priscilla was principal oboe for this concert, and had to navigate numerous solos, one more difficult than the next. After one piece, which involved her weaving intricate lines with Daniels, he turned during the applause to acknowledge her, clapping and bowing. That’s the kind of thing that one might take for granted, but not everyone does it, so it struck a deep chord in me.

I imagine she’ll become even busier, but I can’t imagine being any prouder than I already am.

Now is the Time, Sunday 10 Apr 2011

My contemporary American music program Now is the Time airs every Sunday night at 10 o’clock on WRTI-HD2. Listen on HD radio or online here. The complete schedule and more information are here.

Coming up this Sunday night:

10 Apr 2011

Cornelius Dufallo. transcendence

Robert Maggio. Aristotle

Michael Gandolfi. The Garden of Cosmic Speculation, Part 2

Cornelius Dufallo. waiting for you

Cornelius Dufallo. lighthouse

Cornelius Dufallo. naiad

It Is Time

Navona just released on Monday the new CD by The Crossing, It Is Time. It’s available at NaxosDirect, ClassicsOnline, Amazon, and many other places, including The Crossing’s own site.

Where Flames a Word appears here, the work this wonderful new-music choir commissioned from me two years ago, setting three works of Paul Celan.

I share the disc with extraordinary pieces by Paul Fowler, David Shapiro, Kirsten Broberg, Frank Havrøy, and Erhard Karkoschka, all using words of Celan and Philip Levine, and all pushing The Crossing’s artistry to places I wouldn’t have thought of.

It was a joy to sit in and be an extra pair of ears at the recording sessions last summer, and I realize now even more how virtuosic these singers are. The technical prowess is unmistakable, but their love for the music was just as powerful, even through the long hours of taping. I remembered this from Vespers, but it was particularly noticeable on this all-unaccompanied CD, their first solo release.

As always, Donald Nally’s directing is organic and riveting. His love (that word again) for the music, the words, the singers seems all-encompassing. It was ear-opening, during the sessions, to hear what he could hear.

I think a lot of people are going to have their heads knocked off by what The Crossing does. Thrilling it is to be a part of it.

Now is the Time, Sunday 3 Apr 2011

My contemporary American music program Now is the Time airs every Sunday night at 10 o’clock on WRTI-HD2. Listen on HD radio or online here. The complete schedule and more information are here.

Coming up this Sunday night:

3 Apr 2011

Klaus George Roy. Inaugural Fantasia

Paul Epstein. Landscape Variations: Book II

C. Bryan Rulon. Res Facta

Steve Reich. Electric Counterpoint

Relache. Press Play

My latest CD mini-review for the WRTI E-newsletter. You can read all my CD reviews here.

Relache: Press Play

Music of Mark Hagerty, Guy Klucevsek, Cynthia Folio

Meyer Media

Relache has been slipping the thin leading edge of new music into Philadelphia since 1979. They’ve done it with a jolly indifference to the clashing of styles or the rocking of boats. Even their name, which in French means “the show is closed,” exhibits their iconoclasm and humor. Downtown, uptown, no town, doesn’t matter: if it’s new–brand-new–Relache is all over it.

They’ve kept to that raison d’etre through the inevitable changes of personnel over the years. Their concerts include the annual Christmas-time Phil Kline “Unsilent Night” boombox procession around Rittenhouse Square, and they’re turning up at this Spring’s Philadelphia International Festival of the Arts with new music for an old silent film.

Every once in a while they come out with a CD, and Press Play, from 2006, is worth getting to know. It includes the buzzing music of Delaware’s Mark Hagerty, represented here with High Octane. More than just hip, though, it sings with depth, in this case an emotional response to the 9/11 tragedy. Cynthia Folio is a flutist and music theory professor at Temple University; When the Spirit Catches You is a stunningly intense look at her daughter’s epilepsy, made more powerful from its simplicity.

Accordionist Guy Klucevsek is a founding member of Relache, and although he doesn’t play on this recording, his music is the gravitational center of the disc. Wing/Prayer is another look–a personal, riveting look–at 9/11. All of his music dances, however. At once traditional and outrageous (one title, Tangocide, clues us into his irreverence), Klucevsek’s music embodies everything Relache has exemplified for more than three decades.

Relache punches with precision and abandon. Press Play excites, and is a great look at one facet of the vibrant new-music landscape of Philadelphia.