We’re working hard on releasing a limited number of vinyl copies of the recording that’s just been remastered from last May’s show at the Jensen Rec. Center. It includes Shostakovich’s Chamber Symphony, Op. 110a, and the B-side is Rzewski’s Les Moutons de Panurge.
In attempting to review a concert like this one can only think: what I just heard, what I just experienced, is more than enough to make language submit, revealing its futility and clumsiness – particularly in its written form. Recalling Guildenstern’s pondering from Tom Stoppard’s play, though, it is verily so: “Words, words. They’re all we have to go on.” How does one write
Many folks weighed in late last week about the tuxedo via twitter. I had a hard time getting out some of these thoughts in 140 characters, so decided to write up some of my ideas here. I hope you enjoy, its a great discussion. The orchestra is a gigantic, antiquated, hulking, financially unsustainable, mannered, ceremonious, unapproachable, beautiful, opulent, complicated beast. Its like a manatee;
The obligatory titular capitals of the event’s ensemble and venue could not be more appropriate for last night’s performance. From beginning to end, PARTCH exclaimed, cursed, laughed, wailed, and cavorted through several varied scores by the “iconoclastic American Maverick” Harry Partch (1901-1974). PARTCH, led by guitarist/composer/singer/radio-personality John Schneider, have been spreading the gospel of Partch since their REDCAT debut in 2004. The group is
I’m sitting in the coffee shop across from St. Thomas Aquinas Thrift on the main drag in Ojai. It’s full of well dressed summer people holding rolled program booklets, bobbling around talking about electric string quartets and a dinner joint, Feast which apparently has fries described as ambrosia or something equally celestial. The contemporary music lover is everywhere. A gestalt animal identified by the