I've noticed that renewed interest in my Time Curve Preludes runs in 10-year cycles. They were finished in 1978, and premiered and recorded by Neely Bruce shortly after that. A decade later, in 1988, Oscar Pizzo played them in Italy and Beatriz Roman in Brazil. Ten years after that, Judith Gordon played them at the Spoleto Festival in Charleston and also in New York's Merkin Hall. Now, ten years later, Bruce Brubaker's recording of Book I for Arabesque Records, called Time Curve, is out.
The Time Curve Variations
Ritsu Katsumata, electric violin
The Stone, Corner of Avenue C and 2nd St., New York City
Saturday, October 24, 2009, 8:00 pm, $10
Since in my last post I swung the pendulum all the way over to 12-tone music and my love of Anton Webern, I thought it might be a good idea to let it swing back in the opposite direction toward jazz, another of my loves since childhood. And thanks to Twitter, I've begun following a fabulous bass player named Jon Burr, so I thought I'd shine the spotlight on him for a moment. I actually met Jon once in the mid 90's at Birdland when he was playing a gig with my friend, pianist Jim Balagurchik. But that was only a chance meeting and he would have no reason to remember it.
Given the type of music I've written most of my life you'd never think I was ever interested in serialism. But I was. And of all the serialists, the one who spoke most clearly and directly to me was Anton Webern. His short, highly crafted, miniatures contain the essence of controlled chromaticism, in much the same way that Bach's chorales contain the essence of all harmonic motion. Both composers were perfect at what they set out to do. In graduate school I even wrote a highly detailed 32-page analysis of the second movement of Webern's Opus 27 Piano Variations, a one-page piece.
Sonic Babylon's Noosa Sound Garden opening at the Noosa Regional Gallery
Special guests Delany Delaney - voice, Leah Barclay – world percussion
and Steve Weis - percussion / metal sculpture will be performing live
with the sounds of the garden. The Gallery is located beside the Noosa River
on Pelican St. in Tewantin, QLD, Australia. The sound garden is part of a day
of activities that includes the opening of the Flora exhibition and a family day.
Sunday, 13 September 2009, 2:00—4:30 p.m.
I've always made it a point not to say too much in public about my friendship with John Cage and Merce Cunningham, partly because lots of musicians of my generation had similar experiences, some far deeper than mine, and partly because the relationship felt special and I didn't want to appear to be trying to capitalize on it in any way. But recently I've found myself talking about John and Merce in ways I seldom have before. The latest occasion was an interview with Robyn Ravlich that Nora and I did yesterday at ABC Radio National in Sydney for her Into the Music series.
Endangered Sounds of the Future
Keynote Address by William Duckworth to the
Australasian Sound Recordings Association Conference
The National Library of Australia, Canberra
Thursday, 20 August 2009, 09:30 a.m.