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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.
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.
An evening of instrumental works found inspiration in a Christian Wolff composition, a Salvadoran folk song and the voices of Angela Davis and Arnold Schoenberg.
Bernard Labadie’s orchestration of the Goldberg Variations came to feel strikingly close to the Brandenburgs, which is to suggest a certain achievement on his part. The arrangement was altogether convincing as Bachmusik.
Within the quietude, Pierre Hantaï played beautifully, blues and reds slowly drifting across the waves of wood behind him. It was dramatic yet subtle, occupying the eyes while the mind floated with Bach's variations.
Composer Claude Vivier approaches the unknowable with a text delivered by a septet of vocalists in a language of his own invention. But the new production adds overly literal video, trading abstraction for the obvious.
The unfolding of the tale was beautifully unhurried, made all the more effective by not being an updating. Underscoring connections to the current day wasn’t necessary. The contemporary reverberations were apparent.
El Cimarrón proved worthy of both stage and museum, presenting the story of Esteban Montejo, born into slavery in Cuba in 1869 and later escaping to live in the forest.
The immigrant experience was examined in the New York premiere of Du Yun’s impressive and expansive Where We Lost Our Shadows. Sadly, the rest of the program wasn’t entirely on message.
Ustvolskaya’s piano pieces can be thunderous or gentle as a soft rain, but at all times Schroeder played with deliberation. Each moment carried with it its own independent world.
With an old swing tune, a retrofitted Ligeti piece, a Syrian wedding and a Vivaldi sinfonia, the Knights mixed old and new without quite blending the two.
