Globe Articles

Rock-and-roll is here to stay

Previewing the Boston Modern Orchestra Project.
Boston Globe, May 18, 2007.

Some bits that didn’t make it into the article:

Anthony De Ritis on quoting Ravel’s Bolero in his concerto for DJ, Devolution:

I actually had finished the piece before I found out [Bolero] wasn’t in the public domain. Luckily, many thousands of dollars in lawyers’ fees later, I was able to use it.

Steven Mackey on the origin of his patriotism:

I remember, I was England for a time as a kid—my father worked for the government—and people would find out we were American, and they’d come up to us and say, “Congratulations on your John Glenn!” or, “Congratulations on winning World War II!” That probably wouldn’t happen today.

Mackey on rehearsals for the 2003 premiere of Dreamhouse, during which the orchestra found out it was being disbanded:

It was literally, the manager came up and said “I just have to make a couple announcements before we start” and then he gets up in front and says, “Um, you’re all fired. Oh, and here’s your guest conductor for the week, Gil Rose.” It was insane.

Excerpt of my interview with Evan Ziporyn:

EZ: There’s rock music in [Hard Drive], but it’s kind of a narrow segment of that, because it’s the music I listened to as a kid, you know? And it’s not always what you expect. I liked prog rock—I liked King Crimson, I liked the Mahavishnu Orchestra. But I was also listening to Barry White.

MG: You know, I was a closet Barry White fan for years, and then one day it was like all of a sudden it was cool to be a Barry White fan.

EZ: His time has come!

MG: I’ve noticed these days that people are pretty shameless about what they like. They don’t care if it’s cool anymore; the nerdier the better. It’s like they wear it as a badge of honor.

EZ: Well, that’s a positive development for the human condition, isn’t it?


(It’s new-music day in the Globe: also check out David Weininger on Harold Shapero’s new song cycle.)

I Put a Spell on You

Reviewing the Radius Ensemble.
Boston Globe, May 9, 2007.

Cut for space was mention of my favorite movement of Silenzio, the fourth one: whispery notes hammered directly on the strings’ fingerboards with muted accordion clusters. Accordion with strings is such a great combination. (The players for that one were Biliana Voutchkova on violin, sympathetically joined by cellist Agnieszka Dziubak and Cory Pesaturo, playing the bayan part on a Western piano accordion with a deft hand, particularly with the instrument’s finicky delicate registers.)

Din and tonic

Reviewing Evgeny Kissin.
Boston Globe, May 1, 2007.

Mention of the sixth of the Brahms op. 118 pieces, the E-flat minor “Intermezzo,” was cut for space (and accidentally conflated with the fifth, which was not particularly slow): Kissin took it at a remarkably slow and improvisatory tempo, fascinatingly calling up echoes and portends of late Liszt, Debussy, and early Schoenberg—and making the force of the middle section explosive. It was his most experimental playing of the night. With that command over color and texture, Kissin could actually be one of the all-time great interpreters of the avant-garde repertoire if he wanted—imagine if he ever tackled the Ligeti Etudes or the Barraqué Sonata.

And the coughing? Seriously: I felt like I was in a foley session for The Magic Mountain movie.

Update (5/2): A reader asked about the Horowitz “Carmen Variations” that Kissin played as an encore. Horowitz tinkered with the piece throughout his career; Kissin’s performance sounded like either the 1968 Carnegie Hall version or the 1978 White House version (which are fairly similar). The first recorded version (from 1927) was shorter; a version recorded (but never released) in the 1950’s is the most elaborate. You can compare transcriptions of the various versions here.