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Kurt Gottschalk is a journalist and author based in New York City. His writings on contemporary and classical music, jazz and improvisation have been published in outlets throughout Europe and America and he has two volumes of short fiction to his name. He is also the producer and host of the Miniature Minotaurs radio programme on WFMU.
Building on 15 years of collaboration with the ensemble, Gilded Wings (for two clarinets and strings) revealed a new maturity in Fujikura's always enjoyable music.
The revisions were minor, but the Requiem remained a fitting work for a modern metropolis: reverent, mysterious, a little bit distant but a powerful prayer for peace.
The Knee Plays was an unusual selection to kick off a Philip Glass celebration, but the engaging production spoke to a time and associations in the composer's career.
The Mother of Us All isn’t an easy work and it’s far from one of Stein’s best pieces of writing. But in this centenary of women’s suffrage, it’s an important one.
The concert paired strong new works by Joan La Barbara, Nicole Lizée and Paola Prestini with compositions by Luciano Berio and George Crumb for a satisfying evening of adventurous works for voice.
In fragments and miniatures, the ensemble pieces were most satisfying, allowing Widmann not to build arguments but define subjects by contrast, showing a quick wit and a flair for suspense.
The program was annotated by the actor Sagine Valla, delivering lines from the composer's published letters, diaries and other texts. It grew intrusive at times, but when given a chance, the ensemble played beautifully.
Rather than addressing indigenous genocide, Stockhausen's Am Himmel wandre ich and Chacon's Asdzaa Nádleehé and Yoolgai Asdzaa took native American poetry and myth as setting for an evening of unusual song.
A disappointing decision to downplay the ghosts and uneven performances made for a difficult and distracting in situ staging of Britten's adaptation of the classic Henry James thriller.
Downes' playing is soulful, perhaps rather American, which gave Schumann a late-night jazziness. That tendency fit better with selections by Nina Simone and Harlem Renaissance composers Margaret Bonds and Florence Price.
The midday concert was held a barn designed by the same team who engineered London's Wigmore Hall, and acoustics are as warm and carefully attuned as its modest, appealing interior.
For 2019, Time Spans doubled its number of concerts, culminating in an evening of works by composers born in or relocated to Canada, conjuring Banksy moods and inadvertent confusion.
