Yesterday, composer Caroline Shaw won the Pulitzer Prize for Music for her a cappella composition Partita for 8 Voices. At age 30, she is the youngest winner in the prize’s history. The jury described Shaw’s composition as “a highly polished and inventive a cappella work uniquely embracing speech, whispers, sighs, murmurs, wordless melodies and novel vocal effects.”
The work is in four movements and appears on a New Amsterdam recording by the ensemble for which it was written, Roomful of Teeth. You can see samples of the sheet music here. And listen to the entire piece below. Very cool stuff. I’m particularly fond of the second movement Sarabande.
In a statement, Shaw said: “The four pieces of Partita were inspired by my dear friends in Roomful of Teeth, during our time together each summer in residence at Mass MoCA, where Sol LeWitt’s bright designs overwhelm me every time. Together, in the ensemble, we’ve been exploring and expanding our love of harmony and the human voice. Partita is also a return to some of my musical origins – violin, dance, and the whimsical imagination of Bach.
“Receiving the Pulitzer is an honor, and I’m grateful to the board and to the jury for considering my music. Some say that it portends a career shift. I’m just going to keep trying to work hard to make good music with good people.”
A couple of days ago, an article appeared in Bloomberg that was so misinformed, so short-sighted, so petty, so ignorant, and so utterly ridiculous that to let it go unchallenged would be irresponsible.
The article came from Manuela Hoelterhoff, the Pulitzer Prize-winning executive editor for Bloomberg Muse and author of Cinderella & Company: Backstage at the Opera With Cecilia Bartoli. Clearly, a capable and decorated writer who has been in the business for many years and deserves respect from this lowly radio host.
HOWEVER…
Earlier this week, Hoelterhoff decided to take on the labor dispute at the San Francisco Symphony. She proceeded to rail against the SFS musicians for “sulking,” saying they “have stopped working because they don’t like doing what they are meant to be doing.” As if a labor stoppage is ever about enjoying one’s job. Continue reading →
On the flight to London last week, Air New Zealand had loaded up a bunch of James Bond movies on the monitors in our seats. An appropriate gesture, I think, to get us in the mood for our final destination. Naturally, I got sucked in. I watched 007 besting bad guys all the way from Los Angeles, over Central Canada, past Greenland and Iceland, and into Her Majesty’s airspace.
In the arts world, if you want something shaken, not stirred, bring in Peter Sellars. That’s just what the LA Phil did for the world’s music educators during the recent symposium “Future Play: Music Systems in the 21st Century” at the Barbican Centre. Sellars is a natural pick for an orchestra which purports to be–and by all accounts is succeeding at being–a 21st Century Orchestra. (Not to mention, of course, his decades-long relationship with the LA Phil.)
The LA Phil’s President and CEO, Deborah Borda, has long recognized that the days of an orchestra existing solely to play music by dead white guys are over. An orchestra–any arts organization, really–must be a vibrant, relevant member of a community as that community exists in the present.
Enter Peter Sellars, who stood in front of a room full of people who work for arts organizations and told them, “Arts organizations are my favorite fascist structures.”
Last year, at the world premiere of John Adams’ passion-oratorio “The Gospel According to the Other Mary,” I wrote an extensive review. At the time, I said I was “less interested” in seeing how Peter Sellars would stage the work in the future, than I was simply excited to hear the music again. Turns out, I should have been more excited to see Sellars’ staging. It was vivid, yet minimal. It was transparent. And it helped connect the libretto together.
At the premiere a year ago, I wrote the audience retention rate at Walt Disney Concert Hall was about 70%. A year later, the work is a bit shorter (Adams cut some scenes), and Adams bumbed up some of the tempos. At the Barbican Centre Saturday night, the audience retention rate was close to 100%. (One couple near where I was sitting got up at a particularly conspicuous time and clattered out of the hall, never to return.)
On KUSC today, you’ll hear me mention an ensemble called Future Band. Future Band is a group of a couple dozen musicians, ages 8-14, from all over London. The ensemble has no set instrumentation, the members write their own music, and it is open to just about anyone. Future Band meets during school vacation periods for several days of intensive rehearsal…and they often perform here at the Barbican Centre. The philosophy is, basically, that creative expression in music should not be bound by the strict rules of one particular style of music.
Last night, Future Band performed at the symposium that the LA Phil and Barbican Centre are hosting called “Future Play: Music Systems in the 21st Century.” Here is a bit from that performance.
This morning, the always-provocative Peter Sellars spoke about activism in music education. I’ll have more thoughts from his talk later here on the blog, but just to whet your appetite, here are a couple quotes from Sellars today:
“Arts organizations are my favorite fascist structures. At a musuem, you see only what the curator wants you to see. An orchestra conductor only lets you hear what he wants you to hear. Nothing else. It’s exclusively top down.”
“Equality is not based in sameness. Equality can only exist in our differences.”
Greetings from London! After a long, bumpy flight–complete with a two-hour line for a manual check-in with handwritten boarding passes (ask me about that later when I’m not grumpy)–I, along with 10 YOLA (Youth Orchestra Los Angeles) musicians, ages 14-16 arrived in London town this morning. We were immediately greeted by something quite familiar to us Angelenos…and something quite unfamiliar to us: traffic and snow. Here’s proof:
After arriving at our hotel, which is a hop, skip, and a jump from the Barbican Centre, I grabbed sandwiches, a quick interview with the LA Phil’s Director of Educational Initiatives Gretchen Nielsen, and put together our first Postcard from London, which you heard on KUSC today. (We have nothing if not quick turnaround times.)
Then, it was off to the opening panel discussion of the symposium Future Play: Music Systems in the 21st Century. Co-hosted by the LA Phil and the Barbican Centre, this is a quite a gathering of arts luminaries, from the heads of the world’s major orchestras (LA Phil, London Symphony Orchestra, New York Philharmonic, Concertgebouw Amsterdam, many many others). In this photo, Sir Nicholas Kenyon (Managing Director of the Barbican Centre) was joined by Deborah Borda; LSO Managing Director Kathryn McDowell; Simon Reining, General Director of the Concertgebouw; and Jonathan Freeman-Attwood, Principal of the Royal Academy of Music.
They introduced some of the concepts up for discussion in the symposium as the week progresses (for example: the tension between the artistic integrity of an organization versus its social activism responsibility). To me, it was just amazing to see so many of these VIPs gathered in one place, with time and determination to tackle some of these major challenges in music education. More on that to come.
Tomorrow, it’s a busy day at the symposium, plus I’ll be hanging out with the YOLA musicians once again as they rehearse for their big presentation later this week. Then, it’s off to a Green Umbrella concert at the Barbican with Gustavo Dudamel conducting members of the LA Phil in music by John Adams, principal timpanist Joseph Pereira, and Unsuk Chin. 21st century music. Just business as usual at the LA Phil.
“I do not have fingers. I have ten voices and they must all sing.” Van Cliburn
Against the backdrop of the Cold War and the Space Race, a lanky 23-year-old classical pianist burst onto the scene as an unlikely ambassador of cultural understanding. At the inaugural International Tchaikovsky Piano Competition, Van Cliburn won the hearts of Soviet audiences—including Soviet Premier Nikita Khrushchev (seen with Cliburn above) and the eminent Russian pianist Sviatoslav Richter—and with his triumph there in Moscow in 1958, Cliburn inspired a torrent of patriotic pride here in the United States.
He received a ticker-tape parade upon his return and the cover of Time Magazine. Cliburn instantly became the classical artist most in-demand on concert stages around the country.
Van Cliburn reminded us that music could cross borders and cultures, bridge conflicts, and bring people together. As Dan Rather put it, he “helped take the chill off the Cold War.”
As the musical world reacts to the death of “Hero of the Piano”, Van Cliburn, KUSC reached out to those who knew him:
From LA Opera Music Director James Conlon, who knew the pianist for almost 40 years, since they first collaborated together:
Classical music has lost one of its great artists today. Van Cliburn’s immeasurable pianism was equaled by his humanity which, taken together, earned him a legendary status. He demonstrated the power of art to bind humans together across the opposing lines of the Cold War. He transformed the fruits of his monumental success to help generations of young pianists around the world. Today I mourn the loss of a friend, the kindest, most generous, gentle, hospitable and courteous man who has ever graced the concert stage.
Renowned pianist and longtime USC Thornton School of Music faculty member Daniel Pollack was the other American top prize-winner at the first International Tchaikovsky Piano Competition.
Van and I shared a most unique experience in world history — two Americans in the midst of a Russian winter behind the mythical Iron Curtain of the Soviet Union at the 1958 First International Tchaikovsky Piano Competition held in Moscow. But what was at first daunting, turned out to be one of the most exciting events for Americans — showing that an American pianist could win a First Prize among Russian pianists! Van’s passionate pianism touched the souls of the Russians. He had that level of projection that was rare even among the best of the best of Russians. His personality was the spark that lifted the spirits of a divided world. It was Emil Gilels who sought permission from Khruschchev to let an American get the First Prize. The Russians were dumbfounded that it was granted— not just for Van, but also to allow for another American prizewinner in the same competition. The two of us remained musical friends for more more than 50 years. His passing is a tragic loss and I will miss him.
Finally, KUSC’s own Rich Capparela cherishes a fond memory of a very special interview:
In the early ’90s I was producing a radio series for the RCA label. One of the biggest perks of that job was getting extended time on the phone for an interview with Van Cliburn. I’ve interviewed many, many talented musicians over the course of my career, but I found myself kind of nervous for this one. After all, this was the one classical musician whose name was known to my non-classical music dad. “He’s a real American hero” I remember him saying with pride. The man was as much icon as musician.As it turned out, I had nothing to worry about. Van Cliburn was easy going, congenial, self-effacing and warm. The phone call felt less like an interview than catching up with a dear old friend. He was a man of class, dignity and humility. I treasure the memory of having had a chance to make his acquaintance.
“Composers are messengers from an ideal world.” -Witold Lutosławski
2013 is a big anniversary year for classical music. It’s the bicentennials of Richard Wagner (May 22, 1813) and Giuseppe Verdi (October 10, 1813); the centennial of Benjamin Britten (November 22, 1913); and the 100th anniversary of the premiere of Stravinsky’s The Rite of Spring (May 29, 1913).
Perhaps a bit lost in all the hullabaloo–quite unfortunately, I must say–is the centennial of the great Polish composer Witold Lutosławski, whose 100th birthday is today. The LA Phil did its part last month when conductor laureate Esa-Pekka Salonen came to town and led a series of concerts that included the final work Lutosławski wrote before he died in 1994: the brief, but dazzling Fanfare for the Los Angeles Philharmonic.
(Here’s that very performance…from a brand new Sony release that came out earlier this week.)
Lutosławski only spent a little amount of time in Los Angeles, but what he did here was important and his visits are still treasured moments of LA classical music history. The Salonen-Lutosławski relationship brought the Polish composer’s music into mainstream LA Phil programming. After all, it was Lutosławski’s Third Symphony that a 26-year-old Salonen brought to Los Angeles for his US debut conducting the LA Phil in 1984. (Watch that first rehearsal here. Click on “video” and scroll down to “One Minute, Maestro.“)
When he was here last month, Salonen talked about the influence of Lutosławski in his life and in the life of the LA Phil.
Lutosławski also spent some time rehearsing with the orchestra at the USC Thornton School of Music, which is chronicled in great detail in this 1984 documentary, Rehearsals with Lutosławski. (The entire doc is on YouTube and well worth a watch. Part 1 is below.)
I’ll leave you with this: a rare video of Lutosławski himself conducting some of his own music. Please enjoy…and raise a glass as we remember this great composer on this, his 100th birthday.
With the Fiscal Cliff™ negotiations behind us and the payroll tax holiday officially over, households making $75,000 a year will see their taxes increase by about $70-$80 per month.
As our dollars seem to get us less and less each year, we have to look for better and better bargains. Thankfully, for fans of the operas of Richard Wagner, Deutsche Grammophon has just the thing: the complete Wagner operas in one box set. Released today. From Die Feen to Parsifal and everything in between. 43 CDs, more than 50 hours of music, and some damn fine performances too. All for the budget-friendly price of $86. That’s about $0.03 per minute of music. (Incidentally, the list price on this set was going to be $125.) You also get 170 pages of liner notes and a link to download every word of each libretto.
To recap, here are some things you can get for $86:
This weekend, the LA Philharmonic performs Igor Stravinsky’s seminal masterpiece, The Rite of Spring, with music director Gustavo Dudamel. The concerts mark the opening of the 2012-13 season at Walt Disney Concert Hall. I spoke with Dudamel as well as several members of the LA Phil about what it’s like to perform The Rite. Here are a few of my favorite moments from those conversations.
Yesterday, composer Caroline Shaw won the Pulitzer Prize for Music for her a cappella composition Partita for 8 Voices. At age 30, she is the youngest winner in the prize’s history. The jury described Shaw’s composition as “a highly polished and inventive a cappella work uniquely embracing speech, whispers, sighs, murmurs, wordless melodies and novel vocal effects.”
He received a ticker-tape parade upon his return and the cover of Time Magazine. Cliburn instantly became the classical artist most in-demand on concert stages around the country.
