Etudes for piano and for bongos are on Now is the Time, Sunday, March 10th at 10 pm. Maria Corley performs seven of the twelve neo-romantic Etudes by Leslie Adams, journeying through changing harmonic relationships, with a sure touch by composer and pianist.
Bang on a Can co-founder Michael Gordon wrote XY for Doug Perkins, who hypnotizes on this recording. Perkins works over five (we think) bongos with mallets. It’s an etude in itself, a study in polyrhythms, but most of all, a seductively fascinating work.
We're telling stories on Now is the Time, Sunday, March 3rd at 10 pm. Stephen Vincent Benét's The Ballad of William Sycamore ("My father, he was a mountaineer, His fist was a knotty hammer; He was quick on his feet as a running deer, And he spoke with a Yankee stammer...") is set pungently by John Biggs. Benjamin Broening accompanies the same clarinet music in two different—and fascinating—ways: with piano (Arioso), and with computer sounds (Arioso/Doubles).
Maurice Wright tantalizes with an excerpt from his Mythology cycle, and David Amram mythologizes a bit himself in his Elizabethan-inspired Sonata for piano.
Burak Bilgili speaks with Jill Pasternak on Crossover, Saturday March 2, 2013
Last week's guest on Crossover was Turkish Bass Burak Bilgili. Turkish? Not necessarily the first nationality that comes to mind when you think "opera singer." But, wait till you hear that voice!
A 2004 graduate of the Academy of Vocal Arts in Philadelphia, Bilgili made his international debut in 2002 - while still a student at AVA - as Duke Alfonso in Donizetti's Lucrezia Borgia at La Scala. His Metropolitan Opera debut was May 7, 2004, when he sang Leporello without either a full-stage or orchestra rehearsal in the final performance of Don Giovanni that season. When he took his solo bow at the end of the performance, the audience roared in appreciation. He returned to the company in 2009 as Ferrando in Il trovatore.
We’re in the blue to purple section of the color wheel on Now is the Time, Sunday, February 24th at 10 pm. The blues are brought to us by Frank Ticheli’s wind orchestra, John King’s string quartet for Ethel, and Libby Larsen’s flute and guitar homage to Dizzy Gillespie and Ray Charles.
A Christopher Campbell interval spans wavelengths so that we may meet Efraín Amaya’s Venezuelan-spiced flute concerto. Joshua Stamper’s Incredible Purple sings the boundary between blues and something ineffable. Well, there’s a trombone.