In case you missed it
#17 • 21.07.2016
The actor chooses voices of the past and present.
#116 • 16.08.2018
Can’t live with it, can’t live without it.
#73 • 28.09.2017
Cliquishness, misogyny, and hypocrisy at an insular new music festival.
#58 • 01.06.2017
How Berlin and techno saved Joshua Fineberg.
#79 • 09.11.2017
A visual approach to the art of music.
#115 • 10.08.2018
Do we still need Bayreuth?
Video of the Week
The Complete 555 Domenico Scarlatti Harpsichord Sonatas
A person who attempts to listen to all of Scarlatti’s 550 harpsichord sonatas may come to feel that they all eventually become indistinguishable. Enter the glorious literalism of the internet: here is each piece played at the same time, in the version of Scott Ross, resulting in a texture that commenters compare to Penderecki, Messiaen, Ligeti, Merzbow, and Metal Machine Music. Allow us one more analogy: this is the musical version of Soylent, compressing a composer’s life work into an oddly compelling beige/gray smoothie sludge.
Audio of the Week
“Losing Touch,” by Edmund Campion
“Losing Touch,” by the American composer Edmund Campion, a student of Gérard Grisey, has something of his mentor’s pristine microtonal rigor, combined with the West Coast influences of Harry Partch. Performed on vibraphone here by Fernando Rocha.
Collection: Brian Ferneyhough at 75
To celebrate the 75th birthday of Coventry-born composer Brian Ferneyhough, the Birmingham Contemporary Music Group has invited the pioneering Arditti Quartet to perform his music in the heart of the Midlands. Also featuring Oliver Janes on clarinet and the conductor Emilio Pomarico, a concert on December Sunday, December 9 at 4 p.m. will present works by Ferneyhough, Jonathan Harvey, Charlotte Bray and Michael Wolters.
Kampela on Ferneyhough’s “La terre est un homme” and other strange, beautiful music.
“When you follow Ferneyhough, well, you are going to be alone with your music.”