musician on music

Mon, 12 May 2008 01:32:09 GMT

So this experiment lost a lot of steam, most especially after the gigantic misunderstanding/drama that heralded its kickoff, but also somewhat in conjunction with the fact that I have been really, really busy this year. I've been neglecting my personal journal as well, but am nearing ready to combine the two, which should make both a bit more consistent. There is a lot to write about, and I have a bit more time now, so it should be done sometime soon - and the whole merge will have a new name. I don't like "musicianonmusic" at all.

know your 2008 Pulitzer Prize (in music) Winners

Tue, 08 Apr 2008 00:27:49 GMT

Winner:

David Lang "The Little Match Girl Passion" (audio available there)

Finalists:

Stephen Hartke "Meanwhile" (full score available here, video sample available here)
Roberto Sierra "Concerto for Viola" (four audio samples here)

I'm fortunate enough to have met the three composers, as well as performing/premiering their music. After listening to these pieces and looking over the samples, I think each is quite good in its own way. The Lang is really lovely. At one point I heard the chord progression used in Radiohead's "Idioteque."

in this case, give the kids what they want

Sat, 05 Apr 2008 19:03:47 GMT

I recently returned from some more community music teaching in La Grande, OR. Among plenty of things that I learned from the experience is that the face of musical ensembles in this country, regardless of genre, would change drastically if contrabassoons were made available to any child that was interested in playing them. When introduced to all the instruments of the woodwind family (and in many cases the orchestra) simultaneously, the contrabassoon routinely generates a HUGE amount of interest. It's too bad that "budget" contrabassoons still start at around $5k. If only there were such a thing as an electric contrabassoon made on such a scale that it were as cheap as, say, an electric bass...

I doubt I'm in the majority on this, but I think the world would be a better place.

thinking aloud about the future of this space

Sat, 05 Apr 2008 18:40:56 GMT

Part of the reason I haven't written much in this blog is that it's more or less an extension of a personal blog. However, I'm realizing that the two are more intertwined than I first thought. I'm toying with the idea of integrating the two. This is mostly because my personal blog has become a bit less "personal." What I really mean is that my life is a lot less incriminating now than it used to be, and that I feel that retribution for past "offenses" including underage drinking, drug use, mental health problems, etc. may be so unlikely that I don't mind opening my past life up to some kind of scrutiny. I'm less ashamed now than ever about any of it, which is why I am probably more accepting of the idea that I will open myself up to greater vulnerability.

Making innocuous comments here resulted in about the same scale of personal attack that I'd ever received in the past several years while being open in my personal blog about such aforementioned offenses. So this suggests that at this point in my life, it really makes no difference. Further, the separation of music and personal life isn't really necessary. There are maybe a couple last frontiers that could be problematic, and those of you who know me well enough know exactly what I'm talking about. But more and more I get the feeling that it's cowardly to attempt to conceal them. I'm ashamed that I worry that not concealing these things will negatively effect my life and career. And while I think there is plenty of just cause for this fear, if I don't face it head on, I do no favors for any in the future who find themselves in the same place - or really for myself either.

This is not to suggest that there aren't things that I refrain from mentioning because they are pointless, or violate the privacy of others - and I certainly hold that in high regard on a format such as this. But that to be the person that I aspire to be runs counter to the desire to conceal anything about myself which might be disagreeable to anyone else. So you can expect that when the logistics are worked out, my longtime personal journal and this journal will merge. The personal journal will be no less personal (it has naturally become slightly less personal over the years as I become more assured in my identity and as my life has begun to sort itself out.) But I think that it will be easier for me to write about music and other not-entirely-personal issues when I am not constantly trying to remove my life and experience from the equation.

Melodyne

Thu, 13 Mar 2008 20:34:27 GMT

This technology is going to revolutionize the recording studio.

http://www.sonicstate.com/news/shownews.cfm?newsid=6281

It took a while for it to load for me, but to come from the reel-to-reel tape edits that were possible a few decades ago to this in such a short span of time is unbelievable. I have more to write about this, but not enough time. For the time being, we can just stand in awe for a little while.

on interpretation and Shostakovich's Fifth Symphony

Sun, 02 Mar 2008 20:37:42 GMT

Obviously I haven't written lately. I was taking a break to do some thinking about the future of this blogging experiment after further developments in earlier drama. I don't have much more to say about it at this point, perhaps that will change, and perhaps it won't. I don't know. But at any rate, there is much more musically that I wish to write about, so that will be something on my mind.

Today's entry is about interpretation, and some other stuff, using our "Inside the Score" performance today of Shostakovich's Fifth Symphony as a starting point.

First the 'other stuff' - while I love the symphony, and think it is the best introductory Shostakovich symphony (in other words, great for the type of concert that this is), I think it is a little overplayed and overcelebrated. The Fourth Symphony, for example, is somewhat more surprising and daring at times, but is very rarely performed. Even the First Symphony could be argued to be more progressive. My favorites, the Seventh and Eleventh, are also performed much less. The Seventh requires a lot of extra brass, so it can often be a logistical issue. The Eleventh might just be under-appreciated I guess, but I think it's more emotionally engaging and better orchestrated. Don't get me wrong though, the Fifth Symphony rocks.

Due to being a little overplayed and overcelebrated, the interpretation is now more of an issue. Our conductor for this performance prefers to be faithful to Shostakovich's tempo indications. A famous example of an interpretation that does not do so is Leonard Bernstein's riveting 1959 recording (4th movement only at link.) The supporting argument is now that Shostakovich attended the 1959 performance in the Soviet Union and approved Bernstein's much faster tempi. Suppose he hadn't? Would it still have been acceptable?

As a composer and performer, I say yes. The second I put a piece out there, it is open to any number of interpretations. I have the right to say that a performance was terrible and unfaithful, but as a performer I think that there has to be some leeway in this issue. When the excellent conductor Jeffrey Milarsky and I were working on a piece of mine with the Juilliard Orchestra, he was able to look at my indications and derive what I really intended to be the feeling of the piece. However, he achieved this in part by employing some flexibility and practicality, as well as at some points simply taking a tempo that I thought was justified by the musical suggestions he gave the performers.

Had I not been there at all, I would still have felt the same way. It reminds me of the Chicago Symphony's thrilling performance of Mahler's Fifth Symphony at Carnegie Hall a couple years ago. Barenboim's tempi were pretty unpredictable at times, but they were always musically justified by the terrific performance, and kept the audience on the edge of our seats. The performance received a prolonged ovation, ending only when Barenboim literally dragged the concertmaster off stage. (I'm still upset there wasn't an encore!) But seriously, the performance was excellent. I have to think that Mahler would have been proud. Every decision Barenboim made was still in respect to Mahler's indications in the score, but some defied the "tradition" that now surround pieces like these.

I'm aware there are people who can't stand these interpretations, but I think that as long a piece is undertaken seriously and with genuine musical interest and honesty in mind (obviously a malicious attempt to make a piece sound stupid doesn't qualify), they are completely valid. They may not be popular, and they may be far from what the composer intended, but if they fall flat on their faces for these reasons it will have been justified. If listeners are inflexible, they can buy recordings they like and seal themselves away. But I prefer being surprised, and feeling like every time I hear a piece it's as if I am experiencing it for the first time. That's what makes live music so great. In music, I don't think there's anything as great as experiencing something like Shostakovich's Fifth Symphony for the first time.

(For the record, my first time was while playing it in my public high school symphony orchestra about 10 years ago. I don't think I listened to a professional recording until after we read through it. When the low piano, pizzicato strings, and horns came in during the 1st movement I'm pretty sure I was ecstatic.)

very interesting game

Tue, 19 Feb 2008 22:03:46 GMT

Go here and click on "game."

Unfortunately, it's a little limited, but there are still tons of possibilities and most likely no two people will write an identical composition.

Thanks to Gabe for bringing this to my attention!

playing under the weather

Sun, 17 Feb 2008 20:43:43 GMT

I haven't done it very often, but I did it last night - playing while sick. Although I did this many times while playing jazz piano and the results weren't great, it still sounded like a piano, and I wasn't held to account for intonation. But I have some kind of upper respiratory virus and I'm trying to play bassoon in a professional symphony orchestra. It is much more difficult.

The biggest liability is actually that I can't hear very well. It's fascinating when I'm not playing what I'm able to hear, usually only high-pitched and very detailed sounds: a triangle or cymbal, rapid sixteenth-notes in the upper strings, a smattering of piccolo. But I can't hear anything in the middle register clearly, and I can't differentiate between what I'm hearing immediately and what is reflecting off some other surface. The brass sound like they're playing a mile behind me on an open field, the audience sounds like it's in another room. Worse, when I'm playing, all I hear is the sound inside my head. That is, even at a soft dynamic, all I hear is me - and it's not even an accurate reflection of what anyone else hears. So in light, delicate woodwind chorales, I'm literally making educated guesses about my intonation.

I mostly made it through last night alive as far as I can tell, although there was one passage where the bassoons play a more sustained passage and the violins play straight sixteenth notes. When I began playing, I could no longer hear the sixteenth notes, and our maestro gave me a look that indicated that I was lagging behind them. The passage recurred and I moved ahead just slightly, the maestro giving a second look to indicate "there it is." He has been very understanding as he has also been battling illness, as have many members of the orchestra. Our principal oboe, although also playing under full capacity due to illness, turned in an absolutely lovely rendition of a long and taxing solo passage.

Today was the first morning since I've been sick where I've been able to sleep in. 12 hours felt about right to my body. I could easily have slept longer, but I didn't want to throw off my sleep schedule. I feel a little better than yesterday, which will hopefully be at least slightly apparent when I have to do the same show tonight, tomorrow night, and the night after that. The thing is, I don't even have enough sick leave to cover this concert cycle - and frankly, if I'm physically able to play, what if I use it now but then need it when I'm throwing up? Although, to be fair, I did have a short coughing fit in the last piece. Thankfully, it happened during a pretty loud passage and stopped by the next quiet, exposed passage. Crisis averted. Now let's see what happens tonight.

changes

Sat, 16 Feb 2008 00:33:45 GMT

Still sick and playing horribly at work, but put up a friend who came to visit for the recent auditions. We talked about songwriting and some of our favorite changes. Here are two variations on a nice core progression (in their original keys) and where you might know them from. If you have a piano or guitar or something nearby, you can try to build these and see if anything registers...there is plenty of embellishment (as the difference between the two examples illustrates) that could be done over the basic idea.

FMaj7 | E7(b9) |
Am9 (Abm9) | Gm9 Bb/C |
FMaj7 | E7(b9) |
Am9 | Am7 (Am7/G) :||

- and -

F#m9(11) (Fm9) | Em9 A7(13) |
DMaj9(#11) | G#m7 C#7(#9-b9) |
F#m9(11) | DMaj7 C#7(#9-b9) |
F#m9 | G#^ø7 C#7(#9) :||

So the first one is recognizable as being from any one of the following among many others (starting with the most recent):
Will Smith - "Just the Two of Us"
Notorious B.I.G. - "Big Poppa"
Bill Withers w/ Grover Washington Jr. - "Just the Two of Us"
The Isley Brothers - "Between the Sheets"

The second variation you might recognize from any of the following among many others (starting with the most recent):
Lil' Kim (feat. Lil' Cease and Notorious B.I.G.) - "Crush on You"
The Jeff Lorber Fusion - "Rain Dance"
and supposedly "Crush on You" was also influenced in part by The Coasters - "Down Home Girl"...the beat maybe?

Anyway, all good stuff. Not so much the Will Smith. But everything else.

Thu, 14 Feb 2008 01:58:08 GMT

Unfortunately, illness has kept me from doing anything, despite that the last couple days were my first off in a while. I've meant to write about the American Idol auditions thus far (a couple people can really sing! the presence of instruments!), about Eartha Kitt's house-rocking performance with the orchestra (she can do some amazing shit for an 81-year old!), and dancing my ass off at a recent 80's night (despite many claims to the opposite, not a bad time for music!) Oh well.

Hope this finds you well, and stay healthy!

moving while playing

Wed, 06 Feb 2008 00:13:32 GMT

Recently a local critic took a jab at our orchestra's "dead-in-the-face back desk players." One of our violists responded to the critic's "brief fit of snarkiness," and explained some reasons why orchestral musicians aren't exactly "smiling and prancing around." I was going to respond immediately, but left it alone. Until today. A review of our recent performances of the John Adams "Chamber Symphony" describes me as having made a "bobbing motion" indicating that I was "rocking out on the piece." The review is absolutely correct, there's one part of the last movement (m. 62-73) where I just can't help it. The music makes me want to move. Perhaps it's my secret penchant for campy club music - when John Adams brings in the 'four on the floor' pedal bass drum, how can you help it? Older players told me 10 years ago that my enthusiasm would fade (and continue to tell me this), but it still hasn't happened.

Shouldn't music literally move you? When a composer invokes a dance rhythm, are we supposed to just imagine how nice it would be to respond physically? What other genre of music requires our immobilization? And as far as facial expressions are concerned, why shouldn't we smile once in a while? Are we trying to hide the fact that music is fun to play? And again, in what other genre would that be expected of us? I never hesitate to point out the great string quartets, or orchestras like the Berlin Philharmonic or Bavarian Radio Symphony Orchestra, whose string sections can look like waves passing energy and musical ideas to each other. On the other hand, I acknowledge that too much can be a bit distracting. But I do think that we have something over some pop stars whose movements are choreographed. Even if we don't move much sometimes, the movements we make are spontaneous. I find that moving helps me guide phrasing and dynamics more organically.

Anyway, as an audience member, I love to see movement and especially some smiles. Anyone else have an opinion on the subject?

Tashi plays Carter/Messiaen

Sun, 27 Jan 2008 02:41:28 GMT

Last night I went to a CMNW performance at Reed College featuring the music of Carter and Messiaen (both of whom celebrate their centenary this year.) The performers were Tashi, a sort of classical music supergroup, who used the occasion to celebrate their reunion. If you happen to be in Portland - go to one of the next two performances. If last night was any indication, they will be terrific.

The concert opened with Wuorinen adaptations of Renaissance compositions. A few nice touches, especially a bout of intense polyrhythmic activity, but overall not incredibly memorable. The ensemble played well.

Peter Serkin then played a terrific rendition of Messiaen's "Little Sketches of Birds." Alternately delicate, fluid, and flippant, the piece unfolded with exquisitely timed pacing. The sensitivity of Serkin's touch was remarkable. I enjoyed the piece, but in 'Messiaenic' fashion some of the bird calls approached incessancy. But this is in no way a criticism of the performer, who was wonderful.

Richard Stoltzman played Elliott Carter's "Gra," which is becoming more and more a part of standard solo clarinet repertoire. I heard it at least twice at Juilliard in student recitals. I like the piece, and Stoltzman brought a terrific character out of it, which I think easily overrode a few minor technical issues. Before anyone gets on my case for saying that - let me add that if I could play half as well as Stoltzman when I'm 65, I would consider myself a success. Stoltzman received an enthusiastic response.

Carter's brief "Figment II" followed an intermission, and was performed incredibly well by Fred Sherry. The piece was great, and Sherry played impeccably, with total musical and technical command. His double-stops were executed with some of the most solid tone and intonation that I've ever heard. He had my complete attention every step of the way.

The program was rounded out with Toru Takemitsu's "Quatrian II," which was completely new to me. I generally like Takemitsu's music, and this piece was no exception. I don't know that it was as well-built as "A Flock Descends into the Pentagonal Garden," written the same year, but it was still lovely. The performance, again, was quite good. The ensemble navigated with inexorable coordination through the at times very thick, post-impressionistic writing. As a result, a few subtle pitch discrepancies on unison passages became slightly more obvious. Nevertheless, this piece not only tied together the Carter and Messiaen works on the program stylistically, but displayed the groups exceptional ensemble skills and superb musicality.

In the Takemitsu especially, Tashi's familiarity with each other and the music was tangible. It's fascinating how clearly an audience can get a picture sometimes of what the group dynamic in rehearsal must be like. Tashi sounded like old friends with complimentary idiosyncrasies trying on pieces that fit like a glove. I regret that I'm occupied with a pops program this weekend, and will have to miss the final two concerts in the series. I'll reiterate: they are bound to be terrific. And before I forget, Ida Kavafian didn't have as much to do last night, but what she did sounded great.

some amazing playing

Tue, 22 Jan 2008 01:31:04 GMT

I have to admit that the first thing that I remember about Cameron Carpenter, an incredible young organist and Juilliard classmate, were his outfits. Comparatively, his all-white getup seen in a series of YouTube videos from a live recital last summer is actually pretty tame. But when I watched the video of the recital, sent by a friend yesterday, I was speechless. The programming is really fascinating, and he uses the organ to amazing effect (check out the percussion in "Raider's March.") Unlike some of his detractors, I'm not bothered by the outfits, performance manner, or even interpretations.

Perhaps there's something a little Liberace about it, but I think that he replaces schmaltz with skill. Another criticism that I've seen in the YouTube comments, themselves known for a plethora of anonymous authors who cowardly 'hit-and-run,' is that some of his renditions are fast, bombastic, or uninspired despite their great technical skill. While it is really a matter of taste, I doubt the same authors could match Cameron's extremely clever improvisatory or compositional ability, or perhaps even his technical or musical abilities. And reducing the whole thing to "fast and loud" is kind of ridiculous - what about his rendition of Duke Ellington's "Solitude?" Obviously the response of the packed house to the recital was very strong and positive - ovations to both halves of the concert, and three encores.

I hope that Cameron continues to bring the organ to audiences who associate the instrument primarily with church, or Grandma's basement. It's such a capable and fascinating instrument, and I think he's really stretching its technical and artistic limits.

Charlie Rose with Alex Ross and Marin Alsop

Sat, 19 Jan 2008 02:28:06 GMT

This video clip is full of great insight, and is absolutely worth a watch/listen. Ross is a music critic for "The New Yorker," Alsop conducts the Baltimore Symphony Orchestra.

Charlie Rose is a terrific (and knowledgeable) interviewer. You may also be interested in his interview of Björk, some famous conductors (Gergiev, Masur, Slatkin), and some rap/R&B artists (Alicia Keys, Kanye West, Jay-Z.)

Interludio de Balazos y Lamento por la Muerte de Federico

Wed, 16 Jan 2008 03:12:43 GMT

This meme produced some interesting answers:
1. Put your music player on shuffle.
2. Press forward for each question.
3. Use the song title as the answer to the question.
(Stolen from Michelle aka Brighty)

What does next year have in store for me? "Mixed Bizness" (Beck) - Excellent.

What's my love life like? "I've Seen it All" (Bjork) - Oh boy.

What do I say when life gets hard? ”Monotone” (Luciano Berio) - I guess you have to get creative to make sense of some answers. Like in Astrology, or that John Edward guy.

What do I think when I get up in the morning? "Her Sacred Spirit Soars" (Eric Whitacre) - I guess this could be interpreted a number of ways, but any of my former roommates will tell you that I don't think much in the morning...

What song will I dance to at my wedding? "Karma Chameleon" (Culture Club) - This is completely likely!

What do you want as a career? "Wanderlust“ (Bjork) - Scarily accurate, but not exactly a 'career.'

Your favorite saying? "Strings in the Earth and Air" (Luciano Berio) - I don't like it when two songs from the same album come up in such close proximity during a random play all. Not exactly a saying, but kind of interesting.

Favorite place? "Blue Ghost" (Stan Kenton) - Place? But if we get creative, Ms. Pac Man has a 'blue ghost.'

What do you think of your parents? “Venus as a Boy” (Bjork) - This doesn't make sense. I just have a lot of Bjork on my mp3 player.

Where would you go on a first date? "On Green Dolphin Street“ (as performed by Chet Baker) - Cute, but I don't know that there really is a 'Green Dolphin Street.'

Describe yourself? "Bar One" (Dr. Dre) - The title doesn't make sense, but I think if you listen to the track you might get an idea...

What is the thing I like doing most? “Tank!” (Yoko Kanno) - Hmm...getting tanked maybe.

The song that best describes my school principal? "I Got You" (James Brown) - One of them was hooking up with a cheerleader. Does that count?

What is my state of mind like at the moment? "Hark" (Israel & New Breed) - From the OSO 'Gospel Christmas' show...

How will I die? "The Space Between" (Zero 7) - Dismemberment?

The song you'll put as the subject? "Interludio de Balazos y Lamento por la Muerte de Federico" (Osvaldo Golijov) - What a title! (means "interlude of the gunshots, and sorrow for the death of federico" I think...)

I skipped one: "Symphony in Bb - Mvt. 3" (Paul Hindemith)

The Confession of Isobel Gowdie

Sun, 13 Jan 2008 00:48:54 GMT

Next weekend we're playing James MacMillan's "The Confession of Isobel Gowdie" (1990), so I'm preparing by listening to a recording. Rhapsody offered the BBC Scottish Symphony Orchestra with Osmo Vanska. After two full listens, I recommend this piece. It begins quietly with some really lovely sonorities and builds gradually with impeccable pacing. As the tempo increases with several successive metric modulations, the intensity and dynamic follow, culminating in violent climaxes. The opening material returns, interspersed with shocking outbursts, and the piece concludes with a massive crescendo on a unison middle C. Although it's physically difficult to listen to the piece without constantly wanting to adjust the volume of your speakers/headphones, I recommend avoiding the temptation and letting the sudden, drastic dynamic shifts startle you. It's a great sensation which is not always afforded in non-classical music.

Jonny Greenwood

Wed, 09 Jan 2008 21:03:47 GMT

Additionally, who was aware of this? What a great idea for a composer-in-residence!

in rainbows

Wed, 09 Jan 2008 20:59:34 GMT

I wanted to bag the whole idea of doing a comprehensive review of Radiohead's "In Rainbows," but over the last few weeks a few relevant articles caught my eye. The first was a review of the album by Dead Science frontman Sam Mickens in one of my favorite publications, the Seattle weekly The Stranger. And then two articles in the New York Times, covering respectively the album's various releases - recently in stores, and previously as a downloadable item. This prompted me to jot down my thoughts.

Much attention has already been paid to the less conventional (although not unprecedented) manner in which the album was first available, but I think that many musical details have either been overshadowed or simply gone unnoticed. In the dozen other reviews I read before writing this (most all in major media outlets), reviewers rarely touch the music beyond snippets of lyrics, vague impressions of a couple songs, or characterizing their response to the album as a whole in a few emotions or less. The review that did the best job of avoiding this typical and not very informative or helpful approach was this review from Pitchfork.

So how much is there left to say about "In Rainbows?" Between the reviews, most of the basic textural and emotional elements of the album begin to coalesce. If you read the band's commentary about the development of the album, it becomes clear that it is song-oriented, which I think is apparent when listening as well. I disagree with the 'Stranger' review that the album is "not necessarily a collection of great songs," the supporting evidence being that that the majority are "not threaded with the same moments of ecstatic drama present in the band's greatest works." The barometer for greatness is ecstatic drama? That's a tough argument to make.

I think that each song stands on its own. There are plenty of things that the songs have in common. Rhythmic engines and harmonic progressions serve as basic, accessible structures that are then decorated with plenty of creative details - often a gradual layering of textural elements. But at the risk of hypocrisy, I'll be more specific (non-musicians stay with me, wikipedia links provided for assistance.) Take "Weird Fishes/Arpeggi," which is all built on a basic 4/4 rock beat, heard at the outset. The harmonic movement indicated by the bass and guitar group the 4/4 bars by fours. However, the guitar (a lovely, resonant, almost clean jazz tone) iterates this by way of repeated 3-note groups, shifting chords with the bass line but not necessarily lining up perfectly - mathematically, the downbeats will only line up every third bar. Because the bass line is in 4 bar groups, a true sense of arrival thus occurs at every 12th bar. For a rock song this is pretty atypical. It gives the song more of a fluid or floating feeling than say, your most basic hard rock song, where you might feel a sense of grounding on every beat of every bar. There are smaller rhythmic layers that come in and out of play as well - for example, a juxtaposed 5/8 (2+3) on the note G4, present only from 1:42-1:47.

But what is the point of all of this? As Roger Ebert pointed out in one of my favorite reviews of anything ever, just because you can explain how they do it doesn't mean they didn't do it. And further, when I'm listening to this album, I'm not usually dissecting each track. I'm enjoying it. It's simply that this rhythmic engine contributes to the way I feel this music. Some other factors: it's presented in lovely timbres, and technically it is executed beautifully. It's not enough to be creative, the band is extremely good and the artistic intent is genuine. The track may not be "ecstatic drama" enough for the 'Stranger' reviewer to have considered it more than "pleasant," but then there is the lyrical content, which is anything but. Does the soundtrack to the dramatic feeling, "melancholy," have to sound like the dark, violent Intermezzo to Act III in Wozzeck to be "great?" I don't feel the need to dissect every last song on this album here, it is enough to listen and enjoy it, but needless to say - the songs weren't thrown together thoughtlessly. Even if the album was not to the reviewers taste - 2 1/2 stars, the equivalent of a 62.5%, a D minus - seems a little ridiculous to me.

What standard are we holding Radiohead up to? The Beatles? Is every album expected to be an epiphany? I think it is enough to produce consistently great music, even if each song isn't a 'dramatic' revelation of sorts. And the only thing I have to say about the manner of the album's release is to reiterate that even at about $2.26 per download; the album still worked to Radiohead's advantage financially in that the middlemen were cut out from huge cuts of the profit, check this out, and of course money wasn't the motivation anyway. What a terrific, and fortunate position for any band to be in. Luckily, this is a good one producing good music. (A final nod also to the spectacular production of Nigel Godrich.)

oy vey

Sat, 05 Jan 2008 00:43:11 GMT

More Seattle Symphony rumblings...

Again, I'm keeping my mouth shut.
But, in the words of Vanilla Ice:
Will it ever stop? Yo - I don't know.
And then something about glowing and candles...

NYE with Pink Martini

Wed, 02 Jan 2008 20:53:50 GMT

Happy 2008! I spent my New Year's playing with Pink Martini (back/center.) The band was supported by an extended string section, high school choir, and the four woodwinds (the guy to my right is 90-year old pops legend Norman Leyden on clarinet.) The two shows were packed, possibly sold out, and I thought the band sounded terrific. Whether or not their style is up your alley, Pink Martini had no trouble grabbing 5,000 audience members from Portland on New Year's Eve - an accomplishment in itself. The piece I was most specifically involved in was a clever rendition of "Peter and the Wolf," with Jane Powell narrating. Anyway, it was a very good time and I was able to celebrate more with friends at the afterparty. Back in Seattle briefly to recuperate, and then back to work!

2 weeks later...

Sun, 30 Dec 2007 22:32:16 GMT

Letters to the NY Times concerning the aforementioned Seattle Symphony piece.

I think perhaps this time I'll just keep my mouth shut about the whole thing.

from that paper whose journalism I allegedly condemned a while back

Sun, 30 Dec 2007 01:17:51 GMT

Another article, this one from the NY Times about music education. I think Kozinn is right on the money with this one. Hit-and-run musical experiences for school children can be valuable and influential, but they can't compare to a strong school music program.

but what about Justin Timberlake?

Sun, 30 Dec 2007 00:51:36 GMT

Here's an interesting story from the Toronto Star, which I found by way of a violist in our orchestra. In general I like the article. I'm always happy to read an optimistic take on the future of classical music. But I take issue with the author's conclusion that young audiences "want pure classical, not crossover offerings." The supporting evidence - a scant, elderly audience at an all-Gershwin pops; and a young audience member affirming her age group's general interest in "Mahler, Shostakovich, Bruckner, etc." I don't think that this is enough to backup the author's "epiphany."

An all-Gershwin program is not representative of "crossover offerings." I'm assuming the "crossover" referred to would be classical to jazz, but what about classical-world, classical-rock, classical-techno, classical-hip-hop, etc.? How about specialty shows such as video game and movie soundtracks, or perhaps the most important crossover draw - a headliner? And I doubt jazz is much more 'hot' among young audiences than classical to begin with. Not to mention that although his songs are timeless and have been covered substantially since, George Gershwin still died 70 years ago. And don't get me started on "all-" anything programs. I love Gershwin, but I don't know if I could handle two hours of symphonic renditions. I love orchestras, I love Gershwin, I love jazz...and I still probably wouldn't show up to that concert.

I agree that college students are more likely to get excited about major pieces of symphonic repertoire than a pops revue. But this doesn't mean that they wouldn't also get excited about seeing the orchestra with any pop star. I'm eagerly awaiting our upcoming pops cycle with Bela Fleck and the Flecktones. Although they may not have as much of a guaranteed draw as, say, Justin Timberlake - they are extremely talented musicians who bring terrific music with them, and are widely popular with music appreciators who do not regularly attend the Symphony. For the record, I think Justin Timberlake is also talented and produces terrific music. And both Fleck and Timberlake are arguably as "crossover" as George Gershwin. But they're also alive, recording music, and performing internationally. Put Rufus Wainwright in front of the Toronto Symphony and see if the audience is younger and more full.

But I can't really pin all this on the author, who may just have been speaking to the youth program members in Toronto. At least as far as my college experience was concerned, I always remember seeing more students at NY Phil performances of 'The Rite of Spring' or even Prokoviev's Fifth Symphony than the Brandenburgs, Schumann Symphonies, and certainly pops shows.

2007 listening list

Wed, 26 Dec 2007 23:41:39 GMT

Well, happy holidays. I was thinking about the end of the year and, out of curiosity, I sorted my various playlists (computer, online service, mp3 player) by 'play count' to see what I've been listening to the most frequently this year. Unfortunately, it isn't very inidicative, because I listened to some tracks over and over again when I was either studying or transcribing them. Nevertheless, here are a few albums in an unsorted, but annotated list. Perhaps you'll find something new, and hopefully you'll share your listening for the year so I can find something new:

The Shaggs, "Philosophy of the World" - The gift that keeps on giving. Every time I listen, I hear some new unintentional (or were they...?) polyrhythmic figure that mysteriously brings the varying tempos and time signatures into startling synchronization. I still get chills during the microtonal finale of "That Little Sports Car."

Joe Jackson, "Night and Day" - A lively portrait of what 1980's New York might have been like. But I didn't hit NYC until the 21st century, so what do I know? I'm mostly going off old SNL (or Night Court perhaps) reruns. But anyway, great songwriting throughout. Jackson's vocal delivery at times is perfect. Viva new wave.

The Allman Brothers Band, "At Fillmore East" (Live) - What an incredible performance. Because I grew up with my parents listening to Allman Brothers albums, I more or less took them for granted. Now that I live alone, I had to fill these gaps in my collection. Other late 60's/early 70's rock bands that I listened to frequently this year include Cream, Blind Faith, CSNY, The Who, EL&P, and of course, Yes.

Jean Sibelius, "Symphony No. 5, Night Ride and Sunrise" (City of Birmingham Symphony Orchestra, Simon Rattle conducting) - Incredible piece, amazing recording. I love waking up to the opening of the first movement of Sibelius 5. Additionally, I have to give a shout-out to Sibelius' intriguing Sixth Symphony, which I heard/played for the first time this year.

Pat Metheny Group, "The Way Up" - Seeing the live DVD prompted me to listen to this album more. Having a good idea of the album version highlights the unparalleled excellence in ensemble playing, improvisation and adaptation, and virtuosity displayed in the live performance. The group is easily as skilled as any great string quartet, and I would love to see this piece with symphony orchestra.

Some other tracks that I listened to frequently to this year, for whatever reason, in no order: "Flawless" - George Michael, "Moody's Mood for Love" - Elliott Yamin, "Your Place" - Zero 7, "Airport Sadness" - Brad Mehldau, "Electric Counterpoint" - Steve Reich, "Seven Days in Sunny June" - Jamiroquai, "God Only Knows" - The Beach Boys, "No Rain" - Blind Melon, "Dissident" - Pearl Jam, "Love and Happiness" - Al Green, "Vertebrae by Vertebrae" - Björk, "That's That Shit" - Snoop Dogg, "Color" - Marc Andre Dalbavie, etc. etc. etc. (not hyperlinked to avoid complete chaos)

There's simply too much else to mention. So, in short, a lot of great music everywhere - all the time. Please share yours. And enjoy!

R.I.P. Oscar Peterson

Mon, 24 Dec 2007 23:39:55 GMT

Oscar Peterson passed away yesterday. He was one of the first jazz pianists that I listened to extensively when I was first starting to playing (the others being Erroll Garner, and especially Bud Powell.) I always loved his inventiveness and agility in the right hand, combined with a solid (and sometimes outright dazzling, especially in stride) left hand. But technique aside, he was always soulful, and one of the things I really liked was how playful his improv could be. I wish there was some way I could have seen him perform live before his stroke, but he was great even after.

Here are a few YouTube clips. If you see the bass player's face in the first clip, that's kind of how hearing Oscar Peterson has always made me feel. Compare the virtuosity of the unison lines to Carl Vine's first piano sonata. (For the record, I like Sergei Babayan's recording.) Or think of the arcing right-hand lines of the second clip, and the weightless agility of their execution, as a perfectly thrown baseball. Or consider the ingenuity of his treatment of both tunes in the last clip. But don't forget that just because we might be able to explain "how" he does it, it doesn't mean that he didn't do it, so I'll leave it at that.

Some people try to get very philosophical and cerebral about what they're trying to say with jazz. You don't need any prologues, you just play.
- Oscar Peterson