Carol Barnett

Now Is the Time
10:55 am
Sat November 15, 2014

Post-modern Homages

Post-modern Homages, from Stephen Hartke's CD The Horse with the Lavender Eye

Composers praise composers on Now Is the Time, Saturday, November 15th at 9 pm at wrti.org and WRTI-HD2. Randall Woolf re-forms, with a string quartet, the phrasings of another century in Franz Schubert, and for Zeitgeist's 30th Anniversary, Carol Barnett wrote Z=30; Schumann's Excellent Extension (with a tip of the hat to Terry Riley).

Stephen Hartke salutes Rochberg, Satie, Enrique Oswald, and Donald Crockett in selections from his Post-modern Homages for piano. For computerized sounds is Reginald Bain's Chaos Game (for Nancarrow), honoring the early, groundbreaking work of Conlon Nancarrow. In Serenata No. 1, Brian Banks imagines the legacies of Henry Sapoznik, Arturo Marquez, and two Harrisons, Lou and George. And cellist Maya Beiser rips into Little Wing of Jimi Hendrix, arranged by Evan Ziporyn.

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Now Is the Time
9:48 pm
Sat August 17, 2013

The World Beloved on Now Is the Time

The question—What Is American Classical Music?—comes to mind on Now Is the Time, Sunday, August 18th at 10 pm. The Symphony No. 1 of John Biggs is in the grand tradition we think of as “American,” with wide-open sounds and deep breaths from the prairies—first brought to us by Virgil Thomson of Kansas and Aaron Copland of Brooklyn. It’s as American as it gets.

The music of John Biggs grows honestly out of this tradition, but the very day in 1963 that the middle movement was completed, President John F. Kennedy was assassinated. This Passacaglia of this American symphony, often performed separately as a memorial, lends added resonance to the entire work.

Carol Barnett takes two worlds that ought not go together—and makes them go together. The World Beloved, A Bluegrass Mass is remarkable because of its integrity. This is no simple Mass-with-a-banjo. Text is interpolated between the sections of the Mass, and the total result is solid, colorful—and uplifting. The bluegrass band Monroe Crossing joins Philip Brunelle’s VocalEssence in a work that could only have come to light in America.

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