Summer Dreams, Ripped at the Seams

My posts have been few and far between this summer, because this year instead of enjoying my usual downtime hanging out by the lake and pool, I've actually been working. And although it's sad that another summer is down the drain (did anyone else get the title reference? From one of my favorite back-to-school movies of all time..."You hauled your cookies all the way to the beach for some guy?"), I'm ready to get on with the fall concert schedule. Mostly because this year, it actually includes some performances of my own. I'm slowly getting in shape for the upcoming clarinet and piano recitals (in upstate NY, Boston and London...a friend once told me I should try to schedule gigs in places I'd like to travel to anyway, and so far her advice is working). More details on the concerts later, or you can also check out my Myspace.

I'm also obsessed with readying my fall wardrobe because I know there's no way I'll have time to do it once the seasons have actually changed. I used to be one of those shoppers who bemoaned the premature arrival of next season's wares, but I have to say I agree with a recent Times article. I don't know if it has more to do with the current economy or my own impatience but it seems everything I have my eye on won't be arriving in stores for another couple of weeks.

In the meantime I can console myself with new episodes of Project Runway.

Now Playing

I've been listening to a new recording of David Macbride's works for solo piano played by the composer on the Albany label. The first two tracks are sonatas written "after Scarlatti," and they manage to combine the vibrancy and energy of Scarlatti sonatas infused with a modern, jazzy edge. I remember attending a private performance at the composer's home in Hartford soon after these pieces were completed (about eight years ago). Prof. Macbride performed his new works alongside Scarlatti's (although I've forgotten now exactly which sonatas he chose), underscoring his use of the Baroque works as pivot points for his own compositions.

The sonatas are followed by a more introspective work, Still Night Thoughts. For Watson Morrison is a short piece written for a former teacher of mine and captures his personality (optimism tinged with sadness) beautifully. I only studied with Dr. Morrison for one year, yet I often find myself repeating his many caveats to my students ("Five minutes of performance are worth five hours of practice" is one of my favorites). For Wen-Chao Macbride is dedicated to the composer's mother, and assuming her picture is the one gracing the CD's cover, she was quite striking (sort of a Chinese Elizabeth Taylor).

The disc closes with Chartres, a large-scale work in three movements. Maybe I've been exposed to too much Lachenmann lately, but I did notice some similarities, particularly in "Mazes." The recording is available on Naxos' music library site, however you must be a member to listen.

SICPP 2008

For various reasons (injuries, gigs, time constraints, general loss of sanity, etc.) I was not able to participate in Sick Puppy this year. I was so disappointed to not be performing that I almost avoided the festival altogether, but at the last minute, I decided to drop by NEC for the last few days. It turned out to be a good decision- I reconnected with many friends and acquaintances (who all looked exhausted- I was no longer so envious of the festival participants) and heard some fantastic performances.
Although I unfortunately missed the masterclass and recital of guest pianist Aki Takahashi earlier in the week, I was able familiarize myself with guest composer Jo Kondo's music in the remaining days of SICPP. I had previously been unfamiliar with his work but appreciated many of the pieces I was introduced to. He presided over the final masterclass on Friday, which concluded with a question and answer session in which Kondo shared his history as a composer, his quest to create an "ambiguously ambiguous" music, and the perceived relationship between his compositions and Japanese folk traditions. One of my favorite pieces was his Strands II. Scored for three pianists in unison, Kondo was inspired by formal Japanese dances performed simultaneously by several people, and talked about the spatial implications of one sound or movement performed by many at the same time.
I managed to catch a large portion of the traditional "Iditarod"- the marathon concert that closes the festival each year. The inclusion of fewer solo pieces in favor of chamber works was a noticeable variation from past years, something the performers seemed to enjoy. The majority of the composers represented at the concert were participants in the compositional component of SICPP, and of course, six pieces by Jo Kondo were performed.
For more on the entire week, see Classical Drone.

Countdown

My lack of posting is due to sheer exhaustion. I'm counting the days until the end of my teaching and playing responsibilities for this academic year, which has seemed about 3 times longer than usual. I'm looking forward to hours of uninterrupted practice time this summer. In the meantime, I've been sorting through some older recordings, some of which I've posted on my Myspace page. More to come soon.



Now playing: eighth blackbird's CD of the music of Frederic Rzewski's music, Fred. I've heard some of the usual gripes with their typical "arranging" of the pieces. To me, the overall effect of works like Les Moutons des Panurge is still impressive.

Gmin7

I'm just beginning to emerge from the funk that somehow manages to overtake me every year during this season. I'm with whomever wrote the song - spring can really hang you up the most.

My improvement in mood has been helped by preparations for upcoming gigs. The inevitable end-of-year accompanying jobs have actually proved to be somewhat interesting this time. I've particularly enjoyed learning Boris Blacher's Divertimento for Trumpet, Trombone and Piano (although I haven't actually rehearsed with any brass players yet, so my thoughts on the piece might yet change). I had never even heard of the composer, but now I'm curious about his other chamber works and solo piano music. The part is tonal and fairly sparse with some jazzy quirks. It's a bit like Hindemith without all the pesky counterpoint. The sixth of seven movements is written for piano solo, with a left hand ostinato of quarter note thirds that step up and back down, separated by beats of rest. The extremely slow tempo makes it the work's longest movement (still only around 2 minutes). I've concentrated on making the ostinato completely regular, like a traffic light blinking intermittently over an empty intersection in an imaginary Hopper painting.

Streets of Philadelphia

A photo from this weekend's quick sojourn to Philly. I didn't see any ladies in bonnets (except for those working at the Pennsylvania Dutch bakeries), but this is just one example remnant of the city's former glory. I discovered many leftovers from its days of high society, including a 1780s pianoforte from London (with all the original ivories!) in the historical home of Dr. Physick, inventor of soda.

Now playing: Music by Philadelphia composer (and R. Serkin grandson) David Ludwig from instant encore.

Now eating: Leftover cha-soba from last night's dinner at Morimoto (the original...and it's purportedly better than the Chelsea location). I also had a lovely experience at another Stephen Starr restaurant, Alma de Cuba.

One More for the Road

With a nerve wracking audition preparation over, I've been able to focus on more agreeable upcoming events. One possibility is a clarinet and piano recital upstate, part of a birthday celebration for a certain American composer, that would also include a new work commissioned specifically for the evening. The concert is tentatively scheduled for October, which gives me an unusually luxurious amount of lead time to prepare.

A moment of silence, please, for Fubar. I probably shouldn't admit that, although it was a total dive, it was one of my favorite places to have a drink with friends. Since one of my best pals lives in the neighborhood, we spent many a quiet weekday evening (when the concentration of frat boys was far less than on weekends) lounging on the couches in the back room. I've added giant falling cranes to my List of Things to Watch Out For.