This week’s blood-red super-moon eclipse informs Now Is the Time, Saturday, October 3rd at 9 pm. Blake Wilkins’s Compendium, from the University of Oklahoma Percussion Ensemble’s CD Twilight Offering Music, is a moodily colorful start to the program. An eerie string quartet is The Gloaming by Michael Whalen, from his CD The Shadows of October.
We look up and out on Now Is the Time, Saturday, September 26th at 9 pm. In Philadelphia there’s no escaping the influence of the pope’s visit this weekend, so there’s a sacred tinge to this Saturday’s program. Curt Cacioppo gives the solo piano a workout, negotiating the potential of a rock-ribbed hymn in his Ostinato-Fantasia on "All Creatures of Our God and King."
James Horner: Pas de Deux Disillusionment with atonal contemporary music then being written drove the young James Horner to film scoring. In November 2014, after years of movie successes, the 61-year-old film composer (Titanic, Avatar, The Amazing Spider-Man) returned to the concert hall with a triumph, his Double Concerto for violin and cello. The work was premiered by its dedicatees, the Norwegian Samuelsen siblings Mari and Hakon.
The New York Times calls Alisa Weilerstein the "sovereign of the American cello," and continues, "it’s not technical brilliance that makes Alisa Weilerstein’s recording of Dvorak’s much-loved cello concerto special, though the young American cellist has it in spades. It’s the take-no-prisoners emotional investment that is evident in every bar, but never more so than in the heart-wrenching slow movement, where Ms. Weilerstein’s cello appears to take on human shape."
WRTI's Mark Pinto, host of the Classical New Releases show, fills you in on the latest and the greatest classical music CDsevery Saturday at 5 pm.Here are five newly released recordings he recommends:
Sokolov: The Salzburg Recital. Though celebrated for the breadth of his repertoire, epic interpretations, and boundless imagination, Russian-born pianist Grigory Sokolov has become something of a living legend and a well-kept secret in America.
It's all spontaneous fun this weekend on Now Is the Time, Saturday, May 23rd at 9 pm. Paavo Järvi conducts a substantial orchestral work by Charles Coleman, Streetscape, then Patrick Beckman plays his own Funky, from his all-piano CD Street Dance. On the CD Dream Streets violinist/composer Cornelius Duffalo performs with an imaginative use of electronics; we'll hear introduction and cosmic clouds.
From a piano concerto whose movements are all in the key of D, Stefania de Kenessey has assembled a solo piano work Spontaneous D-Combustion. Charles Coleman returns with another Järvi, Kristjan, conducting his Absolute Ensemble in Young Worlds.
We can almost see the music on Now Is the Time, Saturday, May 2nd at 9 pm. Robert Moran took snippets of words from a 30-year correspondence with John Cage and worked them into this delicious three-part work for chorus, Seven Sounds Unseen.
Nicolas Scherzinger spins musical motifs within a chamber ensemble and imagines what they would sound like if held up to Fractured Mirrors. The particular sand of the Gobi Desert, they say, sings when the wind blows a certain way. Bright Sheng conducts two ensembles in The Singing Gobi Desert, Music from China and the Prism Saxophone Quartet, with whom he imagines hearing the sand and viewing a mirage—the archetype of seeing and not-seeing.
The tango spins and snaps to a halt on Now Is the Time, Saturday, April 25th at 9 pm. If there’s a meaning behind Mean Old Pony Tango by Michael Kurth, we’ll let it go by to revel in the string quartet antics, and Adrienne Albert combines rock energy with the smooth ride of L.A. Tango Nuevo. A solo piano is overcome with romance in Robert Elkjer’s En-tango-ed, and James Adler gnarls a Twisted Tango with his own self at the piano, accompanying saxophone.
Ingrid Arauco’s Divertimento for an unusual trio includes a tango among its movements. Kenneth Froelich has no obvious tango in Clockwork Automata, but do we detect its spirit among the spinning and clicking? Finally, a string quartet returns to play Tanguori by Jeremy Cohen, snapping the program to a close.
Kile Smith discusses the importance of Philip Glass
Philip Glass is one of the most influential composers of the last 50 years. He’s not the only composer to use slowly changing repetition as a formal device, but his prolific output and the legacy of decades of performances by the Philip Glass Ensemble, have made his sound-world recognizable to millions.
He’s composed numbers well into the double digits of symphonies, operas, and film soundtracks, along with string quartets, concertos, ballets, songs, and so much more. His autobiography Words without Music recounts what Ornette Coleman told him: there was a difference between the music world and the music business. It's a lesson he never forgot.
He worked in his father’s Baltimore record store, and was a furniture mover, cab driver, and plumber. He studied at Juilliard and with Nadia Boulanger in Paris, then formed his ensemble and began touring. Operas, beginning with Einstein on the Beach, made him so famous that Peter Schickele poked fun with a P.D.Q. Bach opera, Einstein on the Fritz. Philip Glass loved it.
He's worked with Ravi Shankar, Martin Scorsese, Samuel Beckett, and David Bowie, and broke down the wall between uptown classical and downtown vernacular. The sound of contemporary music is due, in no small part, to Philip Glass.
Forms traditional, and those not so, arise on Now Is the Time, Saturday, April 18th at 9 pm. Composers often wrestle over titles, hoping to trumpet putative musical originality with a never-seen-before moniker. Paul Moravec, however, writes a piece for string quartet plus piano and calls it what it is: Piano Quintet. With the Lark Quartet, with pianist Jeremy Denk, and with his keen ear for profound energy, Moravec has that ease to call things what they are, and we are rewarded.
John Hodian’s six-part MMU-14 is mysteriously-titled but engagingly entertaining. Written way back in the 1980s, it’s a work of surface repetition, but listen closely, as it’s rare that any two measures are exactly like the next two. For overdubbed acoustic instruments, MMU-14 uses just a soupçon of electronics to produce an attractive yet propulsive drive.