Earl Kim's song cycle Now and Then (1981), for soprano, flute, harp and viola, is a terse meditation on the fragility of life. The composer writes: "The texts - by Beckett, Chekhov, and Yeats - which I finally settled on cover a range of poetic images dealing with the death of friends, the innocence and vulnerability of daffodils, the loneliness of one's final moment, and Chekhov's prophetic image of an earth which for thousands of years has borne no living creature." Hear a performance of Roundelay from Now and Then ... this week's Pytheas Earful.

David Hurwitz of Classics Today writes, "In case you haven't heard, Nikolai Kapustin writes jazz in classical forms. In other words it's all notated, but stylistically it's also the real deal. He has completely internalized the idiom in the same way that Bartók did Eastern European folk music, and the result betrays no trace of "hybridism" or incompatibility of structure and content. This shouldn't really come as a surprise. Kapustin was trained in the great Russian piano tradition, and the American jazz line is really the only other independent school of equally virtuosic keyboard playing/composition that has arisen since. Whether we're talking about Art Tatum or Scriabin, Medtner or Oscar Peterson, Rachmaninov or Gershwin, Kapustin knows them all and his own music shows it." ... check it out at our FEATURED RECORDING at Pytheas.

"The success of Jane Austen on the silver screen has led to a sudden outpouring of movies based on classic literature. The flood includes new features from the works of William Shakespeare, Henry James, Charles Dickens, Thomas Hardy, and Henry James. Suddenly, all the novels we were forced to read in high school and college English classes are being filmed. In "Portrait of a Lady", the first motion picture adaptation of James' beloved classic, director Jane Campion presents a stark contrast to the light-and-sunny Jane Austen movies. Although it examines some of the same issues as Pride and Prejudice, Sense and Sensibility, and Emma, the perspective is much darker. Those expecting a light romance from Portrait of a Lady are in for a rude awakening". (James Berardinelli, Reel Reviews). Renowned film composer Wojciech Kilar has scored the film with brooding and luscious music. Hear and watch and excerpt entitled The Kiss (our apologies for the Italian dialog dubbing!) . . . this week's PYTHEAS SIGHTING.

Deborah Lohse's dance piece Monogrammed (2008) (with music by David Lang) features 14 dancers in a three-part work that deals with materialism, grief and lots of flour. Monogrammed asks the question, "What would you give up in order to bring back the one you love?", and contrasts rapid-fire text with movement that suspends time. In this week's FROM THE PYTHEAS ARCHIVES, the ad hoc Ballet company continues its exploration of the evocative place where classical dance collides with the avant-garde.

Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music

"Here, in a nutshell," Carl Nielsen wrote, "is what I demand of all art: opposing forces which meet and glow, appearing one but remaining two, embracing and caressing like rippling water over pebbles, yet never actually touching and breaking the delicate interplay." That is the spirit of his Flute Concerto of 1926. Watch a performance of this often joyous work by flutist Ulla Miilmann . . . one of this week's FEATURED NEW MUSIC VIDEOS.

Stephen Paulus is one of America’s most talented composers, having achieved notable success with performances of operas as well as works for orchestra, chorus, chamber ensembles and piano. As a composer for the stage, he has been most closely associated with the Opera Theater of St. Louis, which commissioned and premiered The Village Singer (1979), The Postman Always Rings Twice (1982, based on James M. Cain’s novel) and The Woodlanders (1985, after Thomas Hardy). He has received commissions from such noted ensembles as the New York Philharmonic, Cleveland Orchestra, Chamber Music Society of Lincoln Center and the Cleveland Quartet. He was a co-founder in 1973 of the Minnesota Composers Forum, and is also a member of the Board of Directors of ASCAP and co-founder and a current Board Vice President of the American Composers Forum, the largest composer service organization in the world. Hear him talk about his life and works with Alison Young of Minnesota Public Radio . . . our current COMPOSER PORTRAIT at Pytheas.

German born Hans Zimmer has composed music for over 100 films, including such Hollywood blockbusters as the Pirates of the Caribbean series, Gladiator, The Lion King, The Dark Knight and most recently Sherlock Holmes. Notable in his work is his integration of electronic music sounds with traditional orchestral arrangements. Hear part of his score for director Ron Howard's The Da Vinci Code (2006) . . . this week's PYTHEAS SIGHTING.

According to composer Michael Colgrass, Old Churches (2000) was one of the most challenging pieces he can remember writing. His goal was to create music that was interesting, expressive and demanding, yet playable by students in the early stages of performing on their instruments and who are also unfamiliar with modern music techniques. His solution was to write a work based on Gregorian chant. The chant unfolds through call and response patterns. One instrument intones a musical idea, then the rest of the group responds by playing it back. This musical conversation continues throughout the piece. Hear a performance of Michael Colgrass' Old Churches . . . this week's FROM THE PYTHEAS ARCHIVES.

Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music

Walt Whitman's A Jubilant Song describes "the joy of my spirit - it is uncaged - it darts like lightning!", and Norman Dello Joio's 1945 setting of this text for chorus and piano furnishes an exciting and challenging outing for any chorus. With its frequent time changes, syncopations, and pantonal harmonies the work is an excellent exponent of the mid-century Americana style. Watch a performance by The Festival Singers of Florida directed by Dr. Kevin Fenton . . . one of this week's FEATURED NEW MUSIC VIDEOS.

Ann Southam is one of Canada's first prominent women composers. When she came of age as a composer, in the 1960s, it was comparatively uncommon for women to be recognized in the field of music composition. She was on the vanguard of a generation that profoundly and positively changed the landscape and social mechanics of contemporary Canadian music. Southam, an avowed feminist, proudly - and even provocatively - incorporated this change in her music. Eve Egoyan and Gayle Young observe that for Southam, ". . . there is a close connection between composing for or playing the piano and other forms of work done by hand, such as weaving, that reflect the nature of traditional women's work - repetitive, life-sustaining, requiring time and patience. But through it all, runs a thread of questioning." Hear the composer talk about her life and work as part of the Canadian Music Centre's The Composer's Chair series . . . this week's COMPOSER PORTRAIT.

In our current Pytheas THOUGHT & IDEA composer Tan Dun and Brett Campbell (of Andante.com) discuss the importance of ritual and theater in musical performance -- and just how H2O became central to his work. Have a read at Tan Dun Talks on Water.

Krzysztof Penderecki's style has changed over the years and in many ways his later works appear more conventional. An overview of his choral works reveals three distinct periods: the earliest works embody a style of tone clusters, sighs and whispers. The material is all evanescence, textures and hints of motifs. Works from the 1980s (a second period) all seem to emphasise the importance of texture and contrast, but a neo-renaissance polyphony takes the place of the sighs and whispers, though clusters remain important. This neo-renaissance style takes polyphonic outlines but mixes them with a more modern harmonic language, making the pieces more angular and less comfortable. Finally, in his most recent works, Penderecki's style approaches the most conventional, having traditional outlines and sounding like a folk-song arrangement. His Credo (1998) fits this last period. Hear a performance FROM THE PYTHEAS ARCHIVES by Student´s Choir of Licenciatura en Dirección Coral of Universidad de los Andes directed by Hector Moy.

HAPPY NEW YEAR!
Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music

One doesn't normally think of The Nightmare Before Christmas (1993) as a Christmas movie, rather a Halloween movie, but the movie is a great alternative to the classic Christmas movies. The soundtrack was composed and written by Danny Elfman, and Elfman was at his best when he created the soundtrack - the composition is stellar and fits for something that is both Disney and (director) Time Burton in nature . . . one of the FEATURED NEW MUSIC VIDEOS for this week.

It's not hyperbole to say that Ástor Piazzolla is the single most important figure in the history of tango, a towering giant whose shadow looms large over everything that preceded and followed him. Piazzolla's place in Argentina's greatest cultural export is roughly equivalent to that of Duke Ellington in jazz -- the genius composer who took an earthy, sensual, even disreputable folk music and elevated it into a sophisticated form of high art. But even more than Ellington, Piazzolla was also a virtuosic performer with a near-unparalleled mastery of his chosen instrument, the bandoneon, a large button accordion noted for its unwieldy size and difficult fingering system. In Piazzolla's hands, tango was no longer strictly a dance music; his compositions borrowed from jazz and classical forms, creating a whole new harmonic and rhythmic vocabulary made for the concert hall more than the ballroom - which was dubbed Nuevo Tango. (Steve Huey, allmusic) Read about Piazzolla's revolution in Ástor Piazzolla: Chronology of a Revolution (Jorge Pessinis & Carlos Kuri, piazzolla.org) . . . this week's FEATURED THOUGHT & IDEA.

Here' the story behind Angels in the Snow (1998) in the words of composer Tracy Rush: "It was December 3, 1990, and the biggest blizzard of the season hit the Midwest. While Dad was shoveling, Mom was working a jigsaw puzzle in the living room. She watched out the picture window as the neighborhood paperboy did his daily ritual: he would always stop in the middle of my parents' lawn and read the last paper before delivering it next door. This particular day, as he walked past the window, he could not resist the beautiful snow and threw himself on his back and made a snow angel. A short while later, Mom looked out and saw my dad on his back in a snow bank, in the angel position. Only he wasn't moving and 911 could not revive him. We still call him our Snow Angel. The work I composed is a joyous song celebrating the season and is my way of raising a toast to the memory of my father." Hear this beautiful celebration . . . our current PYTHEAS EARFUL, Tracy Rush's Angels in the Snow.

Karel Husa's Divertimento for Brass and Percussion (1958) is intimately connected to the composer's personal life and his Czech heritage, and it has become one of his most frequently performed works. Husa intended the music to be accessible for all levels of musicians and audiences alike, and we feature the work this week
. . . FROM THE PYTHEAS ARCHIVES.

Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music

Composer Judith Lang Zaimont has recently been joining up with her husband, the painter Gary Zaimont, to present videos which highlight both her vibrant and original music and his stunning visuals. The latest of their collaborations is entitled Borealis which features the composer's Sky Curtains: Borealis Australis (1984) scored for the unusual combination of flute, clarinet, bassoon, viola and cello. Check it out at Pytheas . . . one of this week's FEATURED NEW MUSIC VIDEOS.

John Psathas is one of New Zealand’s most frequently performed composers. With works in the repertoire of such high profile musicians as Evelyn Glennie, Michael Brecker, Pedro Carneiro, the Halle Orchestra and others, he has achieved what was until recently held to be a near impossibility for a composer of contemporary New Zealand music – he is establishing a solid international profile, and receiving regular commission offers from outside New Zealand. Fragments, this week's FEATURED RECORDING, has been described as "an injection of adrenalin direct to the heart of New Zealand classical music". Read more about the recording, John Psathas' music and hear some excerpts from Fragments . . . our FEATURED RECORDING at Pytheas.

This week we bring you an unusual short film by Jamie Ward which feature's both the music of Astor Piazzolla and Richard Grunn's human puppet "Cliff". December (or "Winter") (2009) takes us on a journey through New York City as film maker Ward brings us a visual interpretation of Piazzolla's La muerte del Ángel (1962) and La resurrección del Ángel (1965). Check it all out at this week's PYTHEAS SIGHTING.

Glenn Klotche writes, "Steve Reich's Clapping Music (1972) is an outgrowth of those works . . . [which] require nothing but the human body - in this case, two performers who hand-clap. Reich states that the piece is 'to have one performer remain fixed, repeating the same basic pattern throughout, while the second moves abruptly, after a number of repeats, from unison to one beat ahead, and so on, until he is back in unison with the first performer.' The piece is intended for performance in an auditorium where the echoes and reverberations of the clapping create, as Reich states, "a surrounding sensation of a series of variations of two different patterns with their downbeats coinciding.' As the piece unfolds, the patterns interact to create a garden of rhythms unlike anything I had previously heard. I was blown away that something so conceptually simple could sound so complicated." Watch a performance recorded in Milna, Croatia . . . this week's FROM THE PYTHEAS ARCHIVES.

Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music

In his operas The Horseman and Kullervo, and in his music for the television epic The Iron Age, Aulis Sallinen has penetrated deep into the mists of Finnish prehistoric myth. Similar mists veil the events his The Red Line, although they are set in our own century and can indeed be timed to the day. The most shattering moments in all these works are those in which Death suddenly and shockingly reaps its harvest. Sallinen movingly examines the pain of life under the shadow of death also in his song cycle Four Dream Songs (1973) based on his opera The Horseman. Hear a gorgeous performance of the third and fourth "Dream Song" by soprano Soile Isokoski . . . one of this week's FEATURED NEW MUSIC VIDEOS.

For this week's Composer Portrait we turn to pianist Gwendolyn Mok. She specializes in the music of Maurice Ravel, and has recorded Ravel's complete solo piano works on a restored Erard concert grand piano, dating from 1875, similar to Ravel' s own piano . . . it's this week's COMPOSER PORTRAIT.

Sergei Prokofiev's ballet Trapèze is a circus-themed one-acter which was written in 1924 for Boris Romanov, a modernist Russian choreographer who had emigrated to Germany in 1921. His Berlin-based company was so hard up it couldn’t afford an orchestra, so Prokofiev duly scored his commission for a quintet of clarinet, oboe, violin, viola and double-bass. Watch an excerpt of Trapèze brought to us by Video Artists International (VAI), an independent record label of Classical, Jazz, Broadway, Ballet, and Opera DVD's and CD's whose catalogue includes performances by such luminaries as Leopold Stokowski, David Oistrakh, Fritz Reiner, Van Cliburn, Beverly Sills, Leontyne Price, Renata Scotto, Franco Corelli, and Maria Callas among others . . . this week's DANSES PYTHEUSES.

The first five pieces of Arnold Schoenberg's Six Little Piano Pieces, op. 19 (1911) were composed in a single day, February 19, 1911; the sixth followed on June 17. These very brief and compact pieces are a sort of musical equivalent of aphorisms: the longest of the set (No. 1) encompasses no more than 18 measures. Schoenberg here experiments with the construction of ideas that are complete from the outset and require no development. Watch a performance of these classics of 20th century music by pianist Michel Beroff . . . this week's FROM THE PYTHEAS ARCHIVES.

Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music

"Ástor Piazzolla was keenly aware of the changing style of the Argentine national dance over his lifetime. It was entirely natural that he should seek to remind his critics and fans alike of the fact that tango had begun in the process of musical evolution and altered its sound and mood through that same process. Histoire du Tango (1985) is the vehicle by which he did so. It is not written for the standard tango band, but is a kind of abstraction of that sound into a classical suite, originally written for flute and guitar. The music is a little over 20 minutes long and covers the evolution of the dance through the twentieth century. Tango evolved from an earlier popular dance called the milonga, which is itself evolved from the Cuban rhythm known as habañera. Tango was initially regarded as a low dance. Like North American jazz, it originated in bordellos, and so the first movement is entitled Bordel 1900. The second movement is called Café 1930. By now, tango was the favorite dance of all classes in Argentina and was known as a daring dance around the world. Piazzolla is now writing directly from his memories of the type of tango played in cafés in Buenos Aires. This is a respectful depiction of the full-blown traditional tango. The third movement, Nightclub 1960 (1985) evokes the precise time when Piazzolla returned to Buenos Aires after his efforts to create jazz tango in the U.S. It now becomes clear that Piazzolla is dealing in the overall composition with his own place in the history of the music, as more sophisticated jazz elements enliven a music that had become standardized and complacent. This is a picture of the early version of Tango Nuevo. The final movement is called Concert d'aujourd'hui, a title that most literally translates as "Concert of Today" but which might also be called "Contemporary Concert." By the 1980s, Piazzolla was becoming an exciting voice in classical concert music. He shows himself here as having taken tango from its polite café form through its new nightclub dance form and making it into a new form for concert music. The harmonic vocabulary here is advanced and often startling, and it is music for listening more than dancing." (Joseph Stevenson, allmusic.com) . . . one of this week's FEATURED NEW MUSIC VIDEOS.

Orchestra 60X60 is a project containing 60 works each 60 seconds in length presented continuously in an hour performance synchronized with an analog clock. The 60x60 mission is to present an audible slice of what is happening in the contemporary music scene by representing 60 works that are diverse in aesthetic and style. Since 2003, the music of more than 1200 contemporary composers has been featured on the Electroacoustic 60x60 project. Thousands of audience members from Berlin to Chicago to New York City to Los Angeles and points in between have experienced this innovative program which synchronizes a clock with 60 one-minute electroacoustic compositions. The Orchestra 60X60 project brings this innovative listening experience into symphony concert halls. Check Orchestra 60X60 out . . . this week's FEATURED NEW MUSIC WEBSITE.

Powell and Pressburger's film "The 49th Parallel" - released in the USA as "The Invaders" - was the first film for which Ralph Vaughan Williams wrote a score. Made in 1941, the film depicts an ill-fated invasion of an isolated spot in Canada by the crew of a German U-boat. Watch an excerpt from The 49th Parallel (1941) . . . the PYTHEAS SIGHTING for the week.

As the critic Antoine Golea so aptly observed, "The Concerto for Flute and Strings (1949) is one of Andre Jolivet's works where violence gives way to tenderness, force and passion yield to charm. Of course the nature of the solo instrument dictated to some extent the intimate, discreet and suave aspects of this work, and Jolivet also had the good sense not to pit the flute against a full orchestra. The strings alone engage in a dialogue with the flute - sometimes lyrical, sometimes piquant and capricious." Watch a performance by flutist Seth Allyn Morris . . . this week's FROM THE PYTHEAS ARCHIVES.

Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music