Disquiet's "BEST OF 2011: THE 10 (OR 12) BEST COMMERCIAL AMBIENT/ELECTRONIC ALBUMS" includes the Chiara String Quartet playing music of Jefferson Friedman.
rdio playlist of the selections (for those available on that service):
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Disquiet's "BEST OF 2011: THE 10 (OR 12) BEST COMMERCIAL AMBIENT/ELECTRONIC ALBUMS" includes the Chiara String Quartet playing music of Jefferson Friedman.
rdio playlist of the selections (for those available on that service):
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Christian Carey highlights a work by Martin Bresnick, commissioned for Lisa Moore and So Percussion:
Cast in eight movements, the piece mirrors the trajectory of Goya’s etchings from a semblance of order and civilization to chthonic brutality. In successive iterations, the gestural language of the farandole and folk-like thematic material is overwhelmed by a noisier environment: populated with a diverse battery of percussion instruments and a correspondingly chaotic phraseology.
YouTube:
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Synchronicity...
I was at Amoeba Music in San Francisco and in addition to the obligatory John Fahey CD, among others, I purchased Noises, Sounds & Strange Airs, a collection of contemporary classical music.
I stared reading some blogs this morning including Elusive Music by the composer Pamela Marshall. She posted about navigating through social media, and happened to mention my paper.li site the contemporary music daily.
I then checked my email and had a notification that the composer had started following aworks on twitter.
And now I am listening to last night's purchases, and interestingly, I just realized Noises, Sounds & Strange Airs includes three works by Pamela Marshall.
Her Child's Play, a fun set of percussive vignettes, streams here.
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From the Philadelphia citypaper, Peter Burwasser's list of top classical albums (suitably elided for the blog):
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I was innocently listening to Stress Position, as played on piano by Marilyn Nonken. Then, I started reading The New York Times via mlaff (usual disclaimer: not safe for work, republicans, brahms' lovers etc.) about music criticism:
Our attitude toward the classical canon, after all — and this increasingly applies also to older forms of jazz and pop — is that great music transcends time. If the New York Philharmonic did not regularly give us Beethoven, Brahms and symphonies, we would complain that it had abandoned the conservationist aspect of its charter and lament the disappearance of works that had moved people for decades or centuries. That tension is not easily resolved.
Yes and no.
One solution: Stop listening to music pre-20th century. I know I did. Other than maybe Simone Dinnerstein's Bach and Alexandra Silocea's Prokofiev, I can't off-hand remember any legacy music in 2011 that has rocked my world. And for the record, I'm becoming increasingly anti-institution when it comes to my music consumption (apologies to SFS, SFO, etc.).
On the other hand, all that superb 20th century music from John Cage, Thelonious Monk, and John Fahey is keeping me from hearing even more from such interesting new composers as Drew Baker.
(and thanks to maura lafferty for the reminder re: contemporaneity)
Update: I don't mean to imply mlaffs is not safe for work etc. She's super good. Read my previous Rick Perry does Aaron Copland via The Rude Pundit post to understand the joke. On the other hand, The Rude Pundit is for selected audiences only...
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I was innocently listening to Danzón Cubano, as played on piano by Christian Ivaldi and Noel Lee. Then, I started reading The Rude Pundit blog (not safe for work, republicans, etc.) about the Rick Perry video I will never bother to watch:
The first line Perry speaks is the crude giveaway of his true intention. "I'm not ashamed to admit that I'm a Christian, but you don't need to be in the pew every Sunday to know there's something wrong in this country," he says as Aaron Copland-esque music surges and falls under him. The pun here is clear. "I'm a Christian...
...and the post descends from there.
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Cover of Kundun
Steve on rec.music.classical.recordings has his top 100 20th century works. Here's the filtered version:
100. Adams – Short Ride in a Fast machine
98. Reich – Different Trains
94. Hovhaness - Mysterious Mountain
92. Antheil – Ballet Mecanique
89. Barber – Second Essay
86. Glass – Kundun
82. Ives – Three Places in New England
77. Corigliano - Phantasmagoria
74. Barber - Violin Concerto Op.14
72. Schuller - Seven Studies on Themes of Paul Klee
71. Korngold - The Sea Hawk
70. Gershwin- Piano Concerto in F
69. Bernstein – Chichester Psalms
47. Harris – Symphony #3
42. Barber – Symphony #1
36. Copland - Sextet
35. Korngold – Symphony in F
29. Copland - Appalachian Spring
27. Gershwin - An American in Paris
22. Copland – Billy the Kid
19. Ives Symphony #2
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I was at the Rasputin going-out-of-business sale today in Mountain View, CA. Yikes, it's the same store where Tower Records went out of business back in 2006.In a bit of nostalgia, I finally purchased the St. Lawrence String Quartet's John Adams CD. You probably don't remember but this was the album that on rdio was available to subscribers except for one track. Ack.
Ok, I'm now home and ripping the (archaic) CD to the (possibly archaic) MP3 format. Although, when iTunes talks to Gracenote to identify the tracks, it reports that the composer for the third movement of Son of Chamber Symphony is Conlon Nancarrow. If only...
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Patrick Jarenwattananon explains his Grammy pick of Fred Hersch for best jazz solo:
The pianist's improvisation on the Monk tune, taken from a solo performance at the Village Vanguard, dares to be different. It's got this two-hand independence thing going on, as if it were some sort of improvised baroque fugue. Hersch shoots off in all sorts of different directions through what feels like the piano's entire range, but he still implies this rock-solid swing undercurrent in perfect time. (You can hear it at the Palmetto Records website.) That aesthetic of swinging from another planet is sort of what Monk did, though this sounds nothing like Monk. I'd like a solo this creative to take home the prize.
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