Harmonium

A Post-Minimal Soiree

The most compelling element of Timo Andres’ competent and playful How Can I Live in Your World of Ideas? is the composer’s simple language that dances with stops and sonic “green-zones,” where tension never warns of impending aggression. He called these jolts “needle-drops,” moments when differing melodies or motifs interrupt flowing lines, like a turn-table arm on a mission to sever any semblence of continuity. Jazzy and imaginative, the main motif reminded me of backward-facing ruminations from a 1950s Paris jam, more reminiscent of Michel Petrucciani than John Adams. However, Timo’s instrumental chamber piece titled Nightjar exposed a much more mature grasp of the subtelties of tonal relevance in a fragile and fusing musical hour. One may recall Anne Clyne utilized similarly delicate resourcefulness in Within Her Arms. But Timo went beyond the string realm and established an engaging and rewarding experience pulsing with horns and winds. While listening, one felt less the impression of betrayal toward the riddled undercurrents of the twentieth century and more a sense of unity, an underlying sense of both familiarity and acceptance. The idea was incorporation, not exclusion, and it was welcomed both aesthetically and rationally. All this from a 24 year old.

From the same performance, one could decipher Payton MacDonald is a gifted musician. One could tell he has a very active musical mind. One could tell his expressive ideas are raw, reduced of pretense or multi-dimensional irony, and energetic like the atom.  But one could also tell his performing persona quells his composer’s muse. Cowboy Raga/Cowboy Tabla was definitely ambitious. He jury-rigged a set of western, eastern, and found percussive elements to mimic the thick, soft, inharmonic delicacies of the tabla and tried blending it with reduced chamber instrumentation.  Though his tonal mentality was enjoyable to hear, the gesture was more exciting than the effect. It was a magnificent display of both rhythmic and compositional creativity, even if at times its sense of artistry lacked simplification and congruence.

Its encouraging to hear young thoughts told expertly.

myTunes

Due to posting restrictions set by Tumblr, I am forced to tether my creative explorations to bogus MySpace instead: www.myspace.com/hazelandhyperion

I have only just begun posting a small selection of studies and statements.  I will update regularly.

City Noir

When the LA Phil posted the program for their upcoming season, I was very enthused to learn John Adams’ newest work will be premiered in October under the baton of Dudamel.  The work, titled City Noir, was supposedly a work for full symphony orchestra.  Fortunately, more details about the work were recently released on Mr. Adams’ website, including a short synthesized sound bite.  His own words: “City Noir was inspired by a reading of the “Black Dahlia” chapter in Kevin Starr’s Embattled Dreams, a book that traces the history of Los Angeles “noir” culture during the 1940’s and 1950’s. The “feeling tone” of the newspaper articles, pulp fiction, movies and film music of the era suggested a symphonic work that might view the strange sensibility of “noir” through the refracted lense of modern orchestral sound and structure.”

Check it: www.earbox.com/W-citynoir.html

This may very well be the first of many dates for which I will fly from the Northern coop in search of justice and redemption.

PS: There are still plenty of tickets available for tonight’s Green Umbrella performance at Disney Hall featuring Adams conducting three new works by two precocious young gentiles, in addition to his own Son of Chamber Symphony. I will report back with results.

PPS: A Flowering Tree is also being staged later this week at Disney Hall.  The composer will be conducting the players set to Peter Sellar’s sure-to-be magical production.  Though perhaps not tailored with the impact of past collaborations between these two heroic minds, this modern re-telling of an ancient Hindu myth is based, in part, on the structure and harmony of The Magic Flute, and was commissioned in celebration of the 250th anniversary of Mozart’s birth.

A Synaptic Symphony

World premiere of brain orchestra; kinda lame: http://news.bbc.co.uk/2/hi/science/nature/8016869.stm

I’m waiting for a group of flatulence-fueled iPhone Ocarinas playing Berg’s Lyric Suite.  Anybody?

Auf wiedersehen Herr Finn!

For those of you who didn’t get the chance to say goodbye in the palace, here is Mr. Ross’ admiral job.

http://www.newyorker.com/arts/critics/musical/2009/05/04/090504crmu_music_ross