Thea Musgrave's Niobe (1987), a work for solo oboe and electronic tape, is closely based on the Greek legend about the weeping nymph Niobe. In Greek mythology, Niobe was the daughter of Tantalus and wife of Amphion, King of Thebes. She unwisely boasted to Leto about her many sons and daughters. Leto, who only had two children, Apollo and Artemis, was angered. As punishment Apollo slew all of Niobe's sons and Artemis all her daughters. Out of pity for Niobe's inconsolable grief, the Gods changed her into a rock, in which form she continued to weep. In this short work for solo oboe and tape, the solo oboe takes the part of Niobe bitterly lamenting her murdered children. The tape with the distant high voices and the slow tolling bells, and later gong, is intended to provide an evocative and descriptive accompaniment. Watch a performance of Thea Musgrave's Niobe by oboist Heather Guadagnino . . . one of this week's FEATURED NEW MUSIC VIDEOS.

Writing about his Toccata and Divertimento (2000), composer Ney Rosauro says, "In Northeastern Brazil there is a kind of musical game where two people begin singing and making rhymes, and challenge each other to create a better story on a given theme. This musical genre/game is called 'desafio'. My "Toccata and Divertimento" is based on the mood and melodies found on the 'desafio' and as such, the two instruments will dialog, sometimes imitating, and sometimes challenging each other. The themes and the rhythm of the piece are based on modal melodies from the baiao, a very popular dance from Northeastern Brazil". Watch a performance of Ney Rosauro's Toccata and Divertimento by percussionists Josip Konfic and Hrvoje Sekovanic . . . it's our BANG, CLANG and BEAT - contemporary percussion music for the week.

Meira Warshauer's "Ahavah" (Love) (1994) uses a text in Hebrew and English from Deuteronomy 11:13-21 which is also found in the second paragraph after the Sh'ma (Hear O Israel) in the traditional Jewish prayer book. The themes of the text are love for God, and the rewards and consequences of following or turning away from God's commandments. Warshauer chose this text in part for its relevance to our threatened earthly environment and the role of morality and love in sustaining life. The first movement, Sh'ma v'ahavta, from "Ahavah" (Hear and love), portrays themes of love and fulfillment: "...and you will eat and be satisfied.." Here a mantra-like "ahavah" combines with a modal chant "v'ahavta" (and you shall love) and a more dramatic "sh'ma" (hear/listen) in an arch form over lush orchestral harmonies. The middle movement contains the warning, "Hishamru" (beware), and represents severity and chaos. A more strident musical language with chromatic harmonies and jagged percussive outlines portrays the consequences of turning away from the commandments: "...you will perish swiftly from the land." The final movement restores order, "Place these words on your heart..." with a passacaglia-like pattern of repeating harmonies under a calm tonal melody as the "ahavah" theme returns, weaving through the simple texture. Hear a performance of the first movement of Meira Warshauer's Ahavah" (1994) with mezzo-soprano Jennifer Hines and the Slovak Philharmonic Chorus and Orchestra with Kirk Trevor conducting . . . it's one of our PYTHEAS EARFULS.

Canadian composer Robert Rival recently joined the Edmonton Symphony Orchestra as Composer in Residence for the 2011-12 season. Critics have described his work, written in a contemporary tonal style, as "well crafted", "engaging", "immediately appealing", "melodic and accessible", "memorable", and his song cycle, "Red Moon and Other Songs of War", has been called "an unequivocal hit". His music for orchestra, chamber ensemble, voice and the stage has been broadcast on CBC radio and performed by the Gryphon Trio and other leading Canadian musicians, ensembles and orchestras. His orchestral works include a one-movement Symphony "Maligne Range", inspired by a hike through the Rockies, and "Maya the Bee", a work for young audiences based on the classic children's tale. Committed to music education and appreciation, he has taught theory and composition to students of all ages, at several universities as well as privately, and has written liner and program notes for major festivals, presenters and record labels. Hear excerpts from Robert Rival's song cycle Red Moon and Other Songs of War (2007) . . . it's this week's FROM THE PYTHEAS ARCHIVES.

Born in Wilmington, North Carolina and now teaching at Columbia College in South Carolina, Meira Warshauer is a composer whose music, in the words of Ina Ester-Joost, "comes from a place which is beyond music. It's like a prayer ... from deep within the soul". This week Warshauer's music is part of a "double feature" at Pytheas: her recent recording, Like Streams in the Desert (Albany Records) is our FEATURED RECORDING, and her new video, featuring the title track from the CD, is one of our NEW MUSIC VIDEOS. The video, produced by Mike Bregman, uses images by Shoshannah Brombacher, whose art is featured in the CD's booklet - a very effecting combination ... ENJOY!

Our other FEATURED NEW MUSIC VIDEO brings us a unique arrangement and performance of Alfred Schnittke's Gogol Suite by the Scherzo Quartet, a Balalaika quartet from Russia. Well done, and a feast for the ears and eyes...

Kyle Gann (PostClassic weblog), in two musings entitled Declining Literacy (here and here), poses the question, "Why has classical music fallen off the cultural literacy menu?". Join the discussion - this week's FEATURED THOUGHT AND IDEA.

And lastly, FROM THE PYTHEAS ARCHIVES this week brings us a bit of Elia Kazan's classic film On the Waterfront (1956) with an inspired and moving score by Leonard Bernstein. If you've never seen the whole movie, get out and do it! You'll be very glad you did.

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