Hands-down one of my highlights of the season so far: Tan Dun’s Buddha Passion, which I reviewed here for Musical America:
LOS ANGELES—A signature of Tan Dun’s most successful compositions is his gift for mixing putatively disparate elements into powerfully original amalgams. To make that happen means being able to take serious risks—and the premise behind Buddha Passion is nothing if not bold. The audience’s euphoric reaction at Walt Disney Concert Hall, where the Los Angeles Philharmonic and a cast of guest performers under Gustavo Dudamel gave the United States premiere on February 8, confirmed the tangible impact of Tan’s wildly imaginative gamble here.
It’s been a bracing week of the non-routine in Los Angeles: Philip Glass’s Satyagraha at LA Opera and, from the Los Angeles Philharmonic, John Cage’s Europeras 1 & 2(with Yuval Sharon’s The Industry) and Susanna Mälkki’s first program of the season. Here’s my review of the Mälkki concert for Musical America:
LOS ANGELES–This past weekend’s program by the Los Angeles Philharmonic was both a newsworthy event and a rousing artistic triumph. Newsworthy because it offered the world premiere of the first composition Steve Reich has written for a full orchestra in more than three decades. And with Susanna Mälkki on the podium, the entire concert on Friday night (November 2) made the concept of a modern symphony orchestra itself feel vitally relevant. Juxtaposed against the pleasures of Reich’s exquisitely crafted piece, a familiar Mahler symphony–the Fifth–was transformed into a revelatory experience.
I finally had a chance to listen to Sustain, the major new Andrew Norman piece, thanks to the Los Angeles Philharmonic’s online, on-demand (free) broadcast of the 4 October 100th-anniversary season kickoff concert, conducted by Gustavo Dudamel.
The entire program is terrific: Esa-Pekka Salonen’s LA Variations and the Beethoven Triple Concerto on the first half, with Sustain, an LA Phil commission and receiving its world premiere here, filling the second. But you should especially get excited about Norman’s composition. It’s a big piece, ambitious, visionary, otherworldly, spun from fascinating aural patterns that seem to wormhole and teleport across vast astronomical spaces.
Such purposeful originality here: the multilayered connotations of the title are by no means merely incidental. There’s no question now that Norman is a major, significant voice. Especially given its spatial conception, Sustain obviously has to be experienced live. But I highly recommend checking out the broadcast while it’s still available as a temporary compromise.*
Mark Swed writes: ” In an exceptional feat of musical transformation, we wind up in an indefinable new dimension. This is something new.”
And in theNew York Times, Seth Coulter Walls discerns “a sublime new direction for the composer”: “Over the final third of ‘Sustain,’ this unusual merger between restraint and hyperactivity could hypnotize … Even when the dynamic level increases to an undeniable roar, there is a smoothness to the piece.”
*Look for the little link button (a bit hard to find) on this page, right below the words “in case you missed it – or want to relive the magic – we’re bringing it to you here on KUSC.org on demand!”
I covered a very unusual approach to Mahler’s Das Lied von der Erde for Musical America. This remarkably original staging by Yuval Sharon and the Chile-based Teatrocinema Company was performed this past weekend by the Los Angeles Philharmonic and Gustavo Dudamel, with soloists Russell Thomas and Tamara Mumford. [review behind paywall]
Esa-Pekka Salonen’s return to Walt Disney Concert Hall highlighted his gifts as composer and conductor alike and underscored how an orchestra can sound genuinely 21st century.
Simon Woods, who as President & CEO has worked so closely with Ludovic Morlot to reshape the Seattle Symphony and enhance its sense of mission, will head south in January to become Chief Executive Officer of the Los Angeles Philharmonic.
In Los Angeles, Mr. Woods will have far greater resources — and a far larger organization to run. The Los Angeles Philharmonic’s annual budget, the largest of any American orchestra, is approximately $125 million — nearly four times Seattle’s, which is $32 million. But he said he was undaunted.
Seattle Symphony Board to Launch Search for Successor
SEATTLE – The Seattle Symphony’s President & CEO Simon Woods, who has led the organization since 2011, will leave in January to become the Chief Executive Officer of the Los Angeles Philharmonic, widely regarded as one of the nation’s most important and forward- looking orchestral organizations. A search committee led by Board Chair Leslie Jackson Chihuly and Chair-Elect René Ancinas will be formed to launch an international search for Woods’ successor.
Gustavo Dudamel and the Los Angeles Philharmonic will perform Mahler’s Ninth Symphony at Benaroya Hall. (VERN EVANS PHOTO)
The charismatic conductor makes his first-ever Seattle stop with the Los Angeles Philharmonic for a one-night performance of Mahler’s profoundly moving Ninth Symphony.
My review of this weekend’s Mahler 3 by Gustavo Dudamel and the Los Angeles Philharmonic is now posted on Bachtrack:
No work is more emblematic of Mahler‘s symphonic philosophy than the Third. Or at least that version of his philosophy filtered by Sibelius, who recollected Mahler’s words decades after their meeting in 1907, long after his colleague’s death: ‘The symphony must be like the world. It must embrace everything’.
But it was another Mahlerian statement that Gustavo Dudamel’s interpretation with the Los Angeles Philharmonic brought to mind – a statement reported by his confidante Natalie Bauer-Lechner referring specifically to the Third Symphony when it was still a work in progress: ‘To me, “symphony” means constructing a world with all the technical means at one’s disposal’.
In the immediate aftermath of the 9-11 attacks, music presenters struggled to readjust programmes so that they could provide an appropriately solemn response. For some this seemed the only justification to enjoy music at all in the face of nightmarish reality.
But the act of making music with care and conviction is itself life-affirming and humanity-empowering, as Leonard Bernstein knew when he famously declared: “This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before”.
Getting commissioned to write a percussion piece to be paired with your mentor David Lang’s the so-called laws of nature is a pretty impressive vote of confidence. And the result was Bryce Dessner‘s enchanting Music for Woods and Strings (2013), commissioned by Carnegie Hall.
This piece has just been released on Sō Percussion’s new album. Dessner, also known as the guitarist for The National, describes the “chord stick” process he devised for the work: “Using sticks or violin bows, the players can sound either of two harmonies, or play individual strings, melodies, and drone tremolos.” This “hybrid dulcimer” sound, which he likens to “chord hockets,” shows the inspiration of American folk song tradition in its warmly layered rhythmic counterpoint.
The Los Angeles Philharmonic will premiere Dessner’s latest piece, Quilting, as part of the Next on Grand Festival of contemporary American composers, which has just gotten under way (with John Adams to lead a program on Tuesday.
A couple years ago, Dessner compiled a list of his own favorite contemporary works for BoingBoing, including both Adams’s Shaker Loops and John Luther Adams’s For Lou Harrison. I approve the man’s taste.
Cartoonist Peter Bagge takes on the life of another independent woman in Credo, his biography of pioneering libertarian Rose Wilder Lane (also known for being the daughter of Laura Ingalls Wilder).
In our latest "Missed Connections," Helen Chapple, Saul Blair and Graham Hinton reunite to talk about how a humanitarian trip to Africa 50 years ago changed the trajectory of their lives.
A new HBO show takes on the life of Anne Lister, a real-life British landowner of the 1830s whose voluminous coded diaries detailed her extensive — and sometimes open — love affairs with women.
Ilaria Tuti's crime thriller, set in the mountains of northern Italy, stars a classic odd couple of cops: A gruff, aging, unhealthy veteran detective and her young whippersnapper of a partner.
Author Anna Merlan's recitations are chilling, as are her warnings that fringe beliefs tend to go mainstream — and how their rise is seen against a resurgence in nationalism and white supremacy.
Charles Nix, Mitch Goldstein, and Sarah Hyndman talk to NPR's Scott Simon about a recent face-lift to the typeface Helvetica, which recently got its first redesign in 35 years.
To celebrate the centennial of the modern-dance pioneer's birth, dancers at theaters in London, New York and Los Angeles performed a total of 100 solos that the master choreographed.
Duanwad Pimwana is one of Thailand's preeminent female writers, and this newly translated story collection — while not uniformly flawless — lets readers watch her grow into a true master of the form.
Moms perform heroic tasks every day, but they rarely get portrayed as superheroes. Fast Color tells the story of three generations of black women and the supernatural powers they inherit.
A century after the birth of quantum mechanics, no one is sure what it is telling us about the nature of reality — and Lee Smolin's book adds to a stream of excellent works on the topic.
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