Getting out of the house to support a band or festival can be difficult. Especially after a long day of music making. And trying to keep track of all the events happening in the summer can be overwhelming.
I just received an email from Alan Davis of Small World promoting upcoming concerts:
Of all the conventional chamber ensembles types (say, from the piano duo to double wind quintet) the string quartet, that is, 2 violins, viola, and cello, inhabits a unique position among composers; to some it is the summit from which to gauge a composer’s worth. To imagine a string quartet challenges the composer to consider the canon which exists, from the plethora of masterworks (Haydn wrote sixty-eight, Mozart twenty-six) including the daunting late quartets of Beethoven, the three of Brahms, and Bartok’s half-dozen, to the murky waters of quartets over the last three-quarters of a century, since Bartok’s sixth quartet in 1939.
And in this corner, Brian Ferneyhough
A notorious composer who maintains a position high on the mountain of potentially “great” contemporary composers using a muscular complexity beyond the early twenty-first century norm (just a cursory glance at his quartet score challenges you to question it’s very being, let alone how it sounds).
Climbing a Mountain
Within the Arditti quartet video Ferneyhough discusses his motives and reveals his passion for the expressive language he chooses. In listening to his sixth quartet Charles Ives filters through like a wish for his ghost to grace the dynamic, rhythmic, and textural extremities, to express the credence of that period’s vision.
Bullying has become a major concern for many young people who have become trapped in a seemingly impossible situation to change. This story offers a shift in perspective, and brings a bullied student out of the darkness of obscurity and into the limelight of popularity with intelligence and courage.
Evergreen Club Contemporary Gamelan expands and develops gamelan repertoire by interspersing traditional Indonesian techniques with contemporary Western ones. In the works by Chan, Ristic and Harrison, their bronze and wooden Indonesian instruments blend with Western ones in an intermingling of global cultural sensibilities. Harrison’s piece for solo viola and gamelan, produces an atmosphere of simple, sensuous charm.
Pauk’s Echo Spirit Isle, originally composed for gamelan, takes on new form as a piece for large orchestra. Vivier’s Pulau Dewata lends itself to varied instrumentations with Good’s arrangement of the piece perhaps being the first for full orchestra. Evangelista, an expert in the music of Indonesia and other Asian cultures, combines his compositional expertise with this special knowledge in O Gamelan, the concert’s touchstone.
Evergreen Club Contemporary Gamelan
Douglas Perry — Viola
JOSÉ EVANGELISTA — O Gamelan — Esprit Commission — World Premiere
CHAN KA NIN — Éveil aux oiseaux for gamelan and ensemble
ANDRÉ RISTIC — Projet for gamelan and ensemble
LOU HARRISON — Threnody for Carloz Chavez for viola and gamelan
ALEX PAUK — Echo Spirit Isle for orchestra
CLAUDE VIVIER — Pulau Dewata (arr. Scott Good)