Soundcloud up and new audio available!

We at the Robert and Carol Morris Center for 21st Century Music are happy to announce a new and improved soundcloud page -- so far we've uploaded 36 tracks of audio from past concerts and festivals, and the page is proving to be a great resource to listen to pieces and excerpts of large works from a tremendous variety of contemporary composers, including Hilda Paredes, Eric Chasalow, John Cage, Reiko Futing, Morton Feldman, Sofia Gubaidulina, Roger Reynolds, David Felder, and may more. All are invited to browse our page here.

Some of the most recently uploaded audio is from June in Buffalo 2012, which was given some very thoughtful press by the The Buffalo News, as well as by our good friend Allan Kozinn at the New York Times, who offered some insightful commentary on David Felder's Rare Air, a four movement work for piano, clarinet, and electronics:

Jean Kopperud performing Felder's Rare Air
photo by Irene Haupt

"Mr. Felder was represented by three movements from Rare Air (2009), a work that explores various aspects of the clarinet or, more properly, the agility of the group’s extraordinary clarinetist, Jean Kopperud. In “Blews” Ms. Kopperud performed on a tube instrument that she and Mr. Felder built for the score. It looks like a boa constrictor; it’s hard to say how it sounds, since the score is heavily layered with electronic timbres and evokes a forest full of banshees. The other movements, “Boxmunsdottir” and “Boxmunsson,” are more conventional, if only by comparison. In both, Mr. Kopperud played a bass clarinet energetically and sometimes with a jazzy tinge, but always enmeshed in Mr. Felder’s evocative electronic scoring." You can read the rest of the review here, and listen to David Felder's "Boxmunsson" from Rare Air, on our soundcloud here.

Brad Lubman from SIGNAL conducting Julia Wolfe's Impatience
photo by Irene Haupt

In a second review, Allan Kozinn offered some thoughts on a few of the larger ensemble pieces at the festival, including Impatience, by Julia Wolfe, "Ms. Wolfe’s Impatience (2005), an insistent, sometimes painterly accompaniment to a peculiar film of that name by the 1920s avant-garde director Charles Dekeukeleire, uses repeating figures and steady, tolling harp, percussion and piano pulses to evoke a tense emotional landscape, and odd touches like eerie accordion chords and sliding violin lines to create an otherworldly atmosphere. If those qualities seem conflicting, they capture the essence of Dekeukeleire’s primitive jump cuts and juxtapositions, and work splendidly on their own." Read the full review here and listen to Julia Wolfe's Impatience on our soundcloud here.

Our first Slee Sinfonietta concert of the 2012-2013 season was a great success as well, and we were happy to be visited by Daniel J. Kushner, who had kind words for the program, and gave a glowing review of Robert Treviño's debut conducting performance with the Slee Sinfonietta, "It felt as if the conductor were prying open the dense orchestration to illuminate the sumptuous yet terse melodies nested inside, waiting to be discovered by the listener." You can read the rest of the review at the The Buffalo News, and listen to Ligeti's Melodien on our soundcloud here.

Within EarShot

In a perfect world, every talented young composer would have the opportunity to hear his or her scores read by a committed professional orchestra. No matter how good your ear may be, there's simply no substitute for the experience of having live musicians engage with your work. Which is why EarShot, a program that teams emerging American composers with orchestras around the country, is such a valuable resource. Through EarShot, some 24 such composers have had readings by the Memphis, Colorado, Nashville, Pioneer Valley, and New York Youth Symphonies.

Earshot comes to Buffalo February 8 - 10 for the Buffalo Philharmonic New Music Readings, highlighted by a free concert by the BPO at Kleinhans Hall on Wednesday, March 9 (7 pm). No tickets are required for this event. Four composers, selected from a national call for scores, will hear their works read by the BPO under the baton of associate conductor Matthew Kraemer, and will receive feedback from mentor composers David Felder, Steven Stucky, and Robert Beaser, and the conductor and BPO principal musicians. The four composers selected, diverse in background and style, are Michael-Thomas Foumai, Austin Jaquith, Nathan Kelly, and Carl Schimmel. EarShot is a partnership among American Composers Orchestra, American Composers Forum, American Music Center, the League of American Orchestras, and Meet The Composer.

In conjunction with EarShot, the Center for 21st Century Music will present a concert at Kleinhans Hall's Mary Seaton Room on Tuesday, February 8 at 7 pm. Violinist Yuki Numata will play David Felder's Another Face, and pianist Eric Huebner will perform selections from György Ligeti's fiendishly virtuosic Etudes, plus rewarding works by György Kurtág and Steven Stucky. The balance of the program will be devoted to chamber works by Frank Zappa, played by Buffalo's eclectic Genkin Philharmonic. If you haven't heard this rock icon's concert music, don't be fooled: titles such as Peaches en Regalia, Igor's Boogie, Eat the Question, and Harry, You're a Beast belie a composer of considerable skill and imagination. 

Slee Sinfonietta rocks Ligeti, Bach, and Bloch, part 2

Just added to the Audio page on the Center's website: excerpts from the Slee Sinfonietta's September 15 concert at Lippes Concert Hall, including works by Bach, Bloch, and Ligeti. Click the "+" sign on the music player, then choose "Slee Sinfonietta 2009" to listen.

Slee Sinfonietta rocks Ligeti, Bach, and Bloch

The Center's 2009-10 season opens in style with a Slee Sinfonietta concert tomorrow evening (Sept. 15) at Lippes Hall.  The program spotlights new faculty member Eric Huebner in Ligeti's treacherous but sparkling Piano Concerto, and renowned soloist Elmar Oliveira in J.S. Bach's Violin Concerto in A minor BWV 1041.

Writer Philip Huscher has described the piano part to Ligeti's concerto as "fiendishly difficult, though not always in the conventional sense; since the piano often plays quite independently from the orchestra, and sometimes in different rhythmic patterns, coordination becomes critical." Huebner (left) comes well prepared, however: having performed the piece at Zankel Hall at Carnegie Hall in 2006.  He has drawn worldwide acclaim for his performances of new and traditional music since making his debut with the Los Angeles Philharmonic at age 17.  His playing has been described as “full of grace and light” by critic Paul Griffiths and he was recently referred to as “the new superstar” of the 2008 Ojai Festival by critic Alan Rich.  Here he is in an excerpt from Messaien's Oiseaux Exotiques, with the Julliard Orchestra under David Robertson.

Elmar Oliveira (right) needs no introduction to violin aficionados, having been the only American to date to win the Gold Medal at Moscow's prestigious Tchaikovsky International Competition. His fairly staggering discography includes recordings on the Artek, Angel, Sony Masterworks, Vox, Delos, IMP, Naxos, Ondine and Melodiya labels. No stranger to contemporary repertoire, his best-selling 1997 recording of the Rautavaara Violin Concerto with the Helsinki Philharmonic (Ondine) won a Cannes Classical Award and has appeared on Gramophone’s “Editor’s Choice” and other best recordings lists around the world.

With a nod to the upcoming High Holidays, tomorrow evening's program also includes Ernst Bloch's 1923 score Baal Shem.  Subtitled "Three Pictures of Hassidic Life," the piece comprises three movements: Vidui (Contrition), Nigun (Improvisation), and Torah (Rejoicing). Ticket information is available here.