Alex Ross's Blog, page 175

For Paul Williams

The pioneering rock critic, prized above all for his engagingly magisterial three-volume chronicle of Bob Dylan's live performances, has died at the age of sixty-four.

Lincoln Center Festival 2013

The Lincoln Center Festival has announced an exceptionally rich musical lineup for 2013. As hinted below, the Köln ensemble musikFabrik will bring to town its production of "Michael's Journey around the Earth," from Stockhausen's Donnerstag, in a staging by Carlus Padrissa, of the Catalan theater group La Fura dels Baus. This continues a Stockhausen wave in New York, with last summer's Gruppen and the Oktophonie just concluded. Had Hurricane Sandy not struck, we would also have heard Joe Drew's presentation of Cosmic Pulses; let's hope it has another chance soon. No less notable is the local première of Toshio Hosokawa's Matsukaze, a German-language setting of the fifteenth-century Noh play Wind in the Pines. The same production will have been seen at the Spoleto Festival in May and June. (Will Robin covered the Berlin première for the New York Times.) Also, Lera Auerbach's a-cappella opera The Blind will have a run of performances in the Kaplan Penthouse; John Zorn will receive a sixtieth-birthday tribute; and Damon Albarn's Chinese-pop confection Monkey: Journey to the West will take over the  Koch Theater.

Skandalkonzert 100

James Levine conducting the Berlin Philharmonic, DG 419781.

The hundredth anniversary of Arnold Schoenberg's "scandal concert," the greatest musical uproar of the twentieth century, arrives on Sunday. (Sorry, Rite of Spring, your tumult is a bit too typical of long-standing practices of French cultural politics.) Will Robin, proprietor of the blog Reflections on the Rite, concedes that the Schoenberg event "may take the cake" in the annals of musical mayhem, and provides a good summary of what went down. On the anniversary itself, the Musikverein in Vienna, site of the brouhaha, will present a curious all-Italian program under the direction of Fabio Luisi. Six days later, though, the RSO Wien, under Cornelius Meister, will re-create the concert note for note, if not blow by blow — Webern's Six Pieces for Orchestra, four of Zemlinsky's Maeterlinck Lieder, Schoenberg's Chamber Symphony No. 1, two of Berg's Altenberg settings — and will conclude with the Kindertotenlieder that went unheard when police called things to a halt. I'm happy to see that the Webern (audio from the fourth movement above) will be performed in its extravagant original version, with the two trombones that play only five very soft notes.

Songs of Saunders

Rebecca Saunders is featured at Miller Theatre on April 4.

Reality and justice

On the New Yorker blog, another of my occasional attempts at gay punditry, following upon my "Love on the March" piece from last November.

Oktophonie at the Armory

The latest Haas news

Tonight in Bonn, Georg Friedrich Haas's Nocturno , for female choir and accordion, will have its first performance, as part of Theater Bonn's Bonn Chance! series. In this work Haas again returns to the realm of total darkness, as in his Third Quartet; the chorus sings settings of Georg Trakl's "Romanze zur Nacht" and excerpts from Novalis's "Hymnen an die Nacht." Nocturno will be presented alongside two previous Haas pieces, Atthis and Haiku, as part of an evening-length experience, with some intermediary material composed for the occasion. The Frauenchor of Theater Bonn is joined by members of Ensemble musikFabrik, who, rumor has it, may be journeying to New York with a major offering before long. In May, Haas's new opera Thomas will have its premiere at the Schwetzinger SWR Festspiele. The libretto, by Händl Klaus, tells of a man watching his companion pass away on a hospital bed, with a nurse named Michael looking on. The Schwetzingen program, which is generally rather mouth-watering, also includes four portrait concerts centered on Haas's work. The composer's most famous creation, in vain, continues to move around the world; in November and December, it will arrive in the UK.

Miscellany: Acht Brücken, Gesualdo, etc.

The Acht Brücken festival, unfolding in Köln in early May, promises dizzyingly rich programming day and night. Some highlights: Xenakis's Persepolis, BA Zimmermann's Requiem, a GF Haas elaboration of Scelsi, Lisa Streich's new AGNEL, a Benedict Mason program, all kinds of avant DJ activity.... On April 4, the University Music Society, in Ann Arbor, undertakes the monumental task of presenting Milhaud's trilogy of operas based on Paul Claudel's translation of the Oresteia: Agamemnon, Les Choéphores (with its visionary writing for percussion), and Les Euménides. The project fulfills a longtime dream of William Bolcom, Milhaud's most faithful student and a longtime Michigan professor. More than 450 student performers will take part.... Bavarian Radio has streaming audio of a memorable War Requiem from Munich, with Mark Padmore and Christian Gerhaher especially riveting in the "Strange Meeting" (via ionarts).... On April 6, Camerata Notturna celebrates the Britten centennial with an offbeat program centered on the luminous viola of Kim Kashkashian.... Composer and sound artist Bruce Odland is seeking to preserve the Tank, a Colorado water tank that has an astounding forty-second reverberation time.... Hannah Lash's Violations project, which I mentioned a while back on the blog, will have its première at Yale on March 28.... The main attraction of New York City Opera's 2013-14 season is Mark-Anthony Turnage's virtuosic "reality opera" Anna Nicole, playing at BAM next September. The Met's only modern offering will be Nico Muhly's Two Boys, on Oct. 21.... Gesualdines, take heed: the Chamber Music Society of Lincoln Center celebrates the dark prince on April 4, with a lecture by the historian Glenn Watkins the preceding day.

Pau Casals at Montserrat

George Benjamin's Written on Skin

"Even the composer’s most committed admirers are a little shocked: Written on Skin feels like the work of a genius unleashed...."

Illuminated. The New Yorker, March 25, 2013. (The first two paragraph are online; the rest is subscribers-only.)

At the end of the column, I give the briefest of reports on the revival of Harrison Birtwistle's The Minotaur — which can be seen on DVD, in all its gory glory — and praise the Royal Opera House's commitment to contemporary opera.