First half courtesy of Molly Thompson
Glenn Cornett’s performance space in the east village Spectrum hosts an evening of concert music by Molly Thompson. The concert takes place Sunday, November 16th at 7 PM.
Video by Anney Bonney
And lyrics by Sara Wintz
Kathleen Supové will perform Our Mingling Arms (“rhapsodic music with…jazzy outbursts and exuberant chaos” New York Times) and Lucid (“Chopin on crack” Anne LeBaron).
James Moore will perform Blowback (“gorgeous and political” Fresh Sound Music Series), a solo electric guitar piece commissioned by Moore.
Thompson’s video song cycle Shadows of Corinth will complete the evening. This project includes video by Anney Bonney, lyrics by Sara Wintz and performances by Thompson, Kamala Sankaram, Pamela Stein, Eric Clark, James Moore and Owen Weaver.
Here is my interview with Molly about the concert featured in the first half of this podcast:
The Glass Sho: Episode 27 (Molly Herron/Molly Thompson)
Sunday, November 16th, 7 PM
121 Ludlow Street, 2nd Flr
New York, NY 10002
$15.00 General Admission
$10.00 Students and Seniors
Music/Words–Corigliano, Eaton and Beethoven
Inna Faliks, piano
Sandra Beasley, poet
David Adam Moore, baritone
Le Poisson Rouge, NY
Sunday, September 23, 2012
Le Poisson Rouge was the scene where pianist Inna Faliks resumed her Music/Words series with a program of classical and contemporary classical music mixed with spoken word, and immediately sprang into action with Rodion Shchedrin’s “Basso Ostinato”, a piece that didn’t even appear on the printed program, but seemed to set a strong pace for the evening’s selections. It turned out that Inna was really playing the encore first instead of last because she says that the Beethoven piece she closed with (the Sonata Op. 111; We’ll get into this shortly) is so epic that it cannot be followed by an encore. It was probably a good call. Continue reading
Mark Abel’s The Dream Gallery. Its sound is one thing, its direction is another.
This isn’t easy for me, so, I’ll just list the good things vs. the not-so-good things.
First what is good about The Dream Gallery:
A very gorgeous sounding orchestra (courtesy of Sharon Lavery and the LaBrea Sinfonietta), given to seven art songs in a cycle designed as microcosms of seven different communities in California.
The soloists are all quite gifted and deliver what was asked of them as the characters of these songs.
What is not good about the album:
I absolutely don’t think that this work should have been recorded as a song cycle. Mark Abel does do very good work as a composer, but for me, this cycle, with the lush musical language and the theatrical-style singing sounds way too close to a Broadway sound, and it suggests that it would work better if it had been staged as either a musical or some sort of stage concert a la “Les Miserables”. I think if he were to re-stage it that way, I would have a better grasp of it.
It’s subject matter, California, unfortunately is lost on me as well, as I have never been to California, so the stories don’t give me a chance to be reeled in.
What do you think? Perhaps it wouldn’t be lost on you.
Click here to stream or purchase The Dream Gallery
Photo courtesy of Reuben Radding
New York-based artist Gelsey Bell had just performed her song cycle Scaling a few weeks ago at the Vital Vox Festival in Brooklyn (Read a review of it here), and it seemed that this one work told me so much about an artist that I knew very little about. It seemed to be like a Rosetta Stone of everything that her creative output encompasses–self-written pop songs, classical piano, new music, theatre and performance art. What was most memorable about this performance was her playing the piano from different positions (from underneath, from the top of the piano belly down, from behind her back, with her knees, her arms and knuckles) and how much it was the antithesis of a singer/songwriter set, which she has also done. Continue reading
Dale Trumbore, originally a “Jersey Girl” but living in L.A. now, is yet another composer I know from the world of Twitter that has been making her mark on the world of new music during what seems like a renaissance of sorts. Along with a new album of art-song cycles titled Snow White Turns Sixty she is also about to have the New York premiere of her work for string quartet titled How It Will Go by ACME (The American Contemporary Music Ensemble). Dale even wrote her own article about the piece that was posted on Sequenza21. Having won numerous awards, grants (among them American Composer’s Forum Subito and USC’s Sadye J. Moss Composition Prize), and academic honors, besides composing, Dale has also been a teaching assistant at USC, and currently provides private piano instruction. She managed to find a window of solitude to talk to us. 🙂 Continue reading