Reminiscing about last year’s SPARK Fesitval a couple of posts ago reminded me about the experience of meeting Alvin Lucier, who was the event’s feautred guest composer. On my third concert of the festival—actually a joint recital with violinist Maja Cerar—I performed Lucier’s Spira Mirabilis for bass sustaining instrument (a.k.a. baritone saxophone) and amplified electric […]
Marathon day approaching rapidly. Tomorrow, as it will unfold in a perfect world:
+ Rehearsal in the morning.
+ Quick, get back to Baltimore to catch Acela to NYC.
+ Arrive NYP @ 2:45pm.
+ E train to 5th Ave / 53rd St.
+ Enter Yamaha Piano Salon.
+ Take out saxophones.
+ Run through music and hope everything works.
+ Eat.
+ Play […]
Two new websites in the works:
www.hybridgrooveproject.com
www.nonzeroduo.com
It’s about bloody time, innit?
Headline sound a little strange? Well, it seems almost impossible to comprehend that the Baltimore Symphony Orchestra has never programmed a work by Philip Glass. One really wonders about that hole in the BSO’s rep list especially because of the way Baltimore (and one very esteemed institution in Baltimore) habitually boasts the fact that Mr. […]
The 21st century musician: “The model player is not just a technical whiz but also a musician who can converse with the public, meld into an ensemble, generate interesting programming ideas, schmooze with donors and teach.”
From Daniel J. Wakin’s feature on the New World Symphony in today’s Times.
Seth Williamson of The Roanoke Times had some nice things to say in his review of Monday’s concert with the Roanoke Symphony Orchestra.
One of my favorite shows on Saturday NPR is Wait Wait… Don’t Tell Me!, the weekly humorous NPR news quiz. In a portion of the show called “Not My Job,” host Peter Sagal invites prominent guests on to answer questions about esoteric topics they mostly likely have no knowledge of whatsoever. Back in December, Peter’s […]
For nine straight years, the Music at the Anthology Festival has been an important catalyst for emerging contemporary composers from around the world—it’s like the Whitney biennial, but for new music, and every year. I’ll be playing a piece by one of those composers at this year’s festival—Alexandra Gardner’s Tourmaline for soprano saxophone and computer […]