From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest) To: zorn-list-digest@lists.xmission.com Subject: Zorn List Digest V3 #239 Reply-To: zorn-list Sender: owner-zorn-list-digest@lists.xmission.com Errors-To: owner-zorn-list-digest@lists.xmission.com Precedence: bulk Zorn List Digest Thursday, January 11 2001 Volume 03 : Number 239 In this issue: - wolfli & per n¿rgŒrd Re: shows in vt or nh? "Meet American Composers" at the Miller Theatre, January 8 Re: Two things I do not understand (Bailey, Moore) Odysseus 7 thurston moore Re: thurston moore Dead Ringers CD Re: Zorn List Digest V3 #238 Cecil Taylor Masterclass belgian concert ---------------------------------------------------------------------- Date: Wed, 10 Jan 2001 16:30:08 EST From: Acousticlv@aol.com Subject: wolfli & per n¿rgŒrd hi folks neat-o that right after scelsi comes up talk of the=20 painter adoolf wolfli, to whose work i was intro'd by composer per n=F8rg=E5rd (per norgard, if the diacritical marks dont come through here.) norgard should be known by those who like scelsi. two wolfli paintings adorn the booklet of Point PCD 5070, Norgard Sym 2 & 4. (NOT the american point/polygram). the notes say exposure to the pix and writings of 'the mental deviant wolfli (1864-1930) changed norgard's music.... from 1895 til death 1920 in mental hospital.... his works consist of 20,ooo pgs of prose, portey, pictures... the sym 4 is based on 2 of his paintings; the wtches lake, and the rose garden norgard wrote "such a world of paradoxes- as expressed by wolfli- is what i wanted to create in music an an hommage to wolfli. it is not a matter of describing a psychiatric case. but precisely the connection betw him and myself. my 4th sym is a=20 handshake to a brother, with thanks for a good idea" snorgartd starters: the above disc marco polo dacapo dccd 9002: in between: for cello & orch; remembering child- cto for vla & o- pinchas zukerman da capo dccd 8901: sym 3; twilight, for orch (dacapo distrib by naxos) steve koenig n.p CD-r of me with hans tammen.=20 he's better than me. i'm still very good :) - - ------------------------------ Date: Wed, 10 Jan 2001 16:50:49 -0500 From: "matt krefting" Subject: Re: shows in vt or nh? otis gave a good overview of pretty much everything going on in this neck of the woods. over here at hampshire college in amherst, we've been trying hard to get an "out" music series of sorts going, since most colleges in this area have pretty crummy music. past shows have included matt valentine, golden calves, eugene chadbourne, and k/salvatore. upcoming shows will include matt valentine and pg six, lee ranaldo, loren mazzacane, and possibly nels cline. i'll post events to the list to let folks know. also, a quick word to let you all know that son of earth-flesh on bone trio is playing as part of signal to noise's new music series this friday, the 12th. http://www.signaltonoisemagazine.org/series.html if you want more info on what they do up there... mrk > >Date: Tue, 9 Jan 2001 19:10:34 -0500 >From: Otis Wheeler >Subject: Re: shows in vt or nh? > > >I recently moved to vt, any advice on venues and musicians? Burlington > >is my first bet, or nothampton. Two weeks out of nyc and I am itching > >to see some live groups. Thanks in advance. > >Flywheel (http://www.flywheelarts.org/), ten minutes outside of >Northampton, schedules some good shows from time to time, especially >in their New Music series. Artists I've seen play there include Kevin >Drumm, Major Stars, High Rise, Volcano the Bear, Paul Flaherty, and >Nmperign (in fact, Bhob Rainey is playing there in Feb). > >Michael Ehlers runs Eremite Records in Northampton and heads the >Conway New Music Society, which puts on ecstatic-jazz and more >out-there shows at a church in Amherst. I wish the performances were >more regular, but I shouldn't complain about a venue which has hosted >Loren Mazzacane Connors, NNCK, and 3/8ths of the original Peter >Brotzmann Octet (separately, of course). Check Eremite's page for >info (http://www.eremite.com/). Brotzmann's Die Like A Dog Trio is >actually touring in April, I'm sure they'll play Burlington and >Amherst. > >Godfigure Byron Coley, he of Forced Exposure and Ecstatic Peace fame, >lives in the area and occasionally hosts ungodly good concerts >(Stefan Jaworzyn, Pelt, Six Organs of Admittance, etc.) at his loft >in Florence, a couple minutes outside Northampton, at which you will >invariably run into people like the girls in Sleater-Kinney or >Thurston Moore (but then, you'll run into Thurston no matter where >you go, especially since he and Kim live in Noho). The concerts are >rare and hardly publicized; emailing Coley and asking to be put on >the mailing list is probably your best bet. Coley's Ecstatic Yod >store (http://www.yod.com/) is in that same building in Florence and >definitely worth checking out for tasty avant-garde flotsam. > >As far as local musicians, Chris Corsano, who works at Coley's store, >is a great up-and-coming drummer. I've seen him put on dandy shows >with Paul Flaherty and Matt Heyner, among others. Ben Karetnick of >Greenfield or Brattleboro (I forget) is another ace free-jazz >drummer, who I've seen play with Joe McPhee and Sabir Mateen. Joshua >Burkett is a nice gent who works at Mystery Train in Amherst and is >definitely worth hearing if you have a chance, he plays at Coley's >store sometimes - great fragile bedroom psych. Yusef Lateef and >Milford Graves both teach at local colleges, but enrolling in their >classes is really your only chance at hearing them play, as they >don't get out much. > >The Hooker-Dunham gallery in Brattleboro is worth watching for the >occasional avant-garde concert or theatre project. Also notable for >being the greatest cellarhole venue I've ever seen, with good gallery >walks and cheap b-movies. Pearl St., the Iron Horse, and the Calvin >are all owned by the same guy, who holds fascistic reign over the >Northampton scene, but at least they schedule decent big-name acts >time to time. Frank Black will be at the Iron Horse this Saturday. >The Higher Ground (http://www.highergroundmusic.com/), just outside >Burlington, gets a lot of the same acts as Pearl St. and the Iron >Horse. Signal to Noise magazine >(http://www.signaltonoisemagazine.org/) is run out of Burlington and >in addition to being a decent rag covering improv, experimental, and >roots shit, holds its own concert series. > >Otis > >- - > >------------------------------ _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com - - ------------------------------ Date: Wed, 10 Jan 2001 17:21:45 -0500 From: Jeni Dahmus Subject: "Meet American Composers" at the Miller Theatre, January 8 Miller Theatre director George Steel presented a splendid program, "Meet American Composers," on Monday. Steel and his co-host Jamie Bernstein Thomas interviewed Daniel Schnyder, John Zorn, Kurt Rohde, Daniel Bernard Roumain, and Julia Wolfe during the 2-1/2 hour session. Each performance was prefaced with an interview and followed by a concluding discussion. Violinist Maja Cerar and pianist Jon Novacek performed Zorn's "Le Momo." Zorn noted that the composition is based on Antonin Artaud's poem of the same title, which translates as "village idiot" or "brat." The poem is an account of Artaud's return to society after his stay in insane asylums. Zorn said the work exemplifies the stretching of boundaries between the possible and the impossible, or sanity and insanity, and that frequent jumps and skips in the score represent electric shocks Artaud experienced during his incarceration. The piece is one long set of pitches, often performed at blistering speed. Steel observed a Messiaen influence; Zorn agreed and mentioned Scriabin as well. The performers commented on the difficulty of the piece: Cerar even described the loss of skin and blood during her "Le Momo" practice sessions. According to Zorn, the recording of "Le Momo" by Stephen Drury and Jennifer Choi will be released in March. Zorn emphasized that he focuses on composing classical works now. He cited his tiredness of travel as a factor, or as he put it, "schlepping all over the world." One of his current projects is a group of songs for voice and piano set to a haiku. He stressed that working with text challenges him. In this case, he said he solved the text problem by writing a vocalise for a long duration and completing the haiku quickly at the conclusion. Future projects could include a double concerto and another quartet. Steel mentioned he may program Zorn's Violin Concerto at the Miller Theater next year. I was delighted to hear that it was a runner-up for a Pulitzer Prize. Zorn mentioned an upcoming CD release of "easy-listening music" --suitable "for lovers only"--to be played in bookstores or "high-end Japanese restaurants." I believe Les Baxtor's music will be used, among others. The interviewers thought he was joking, but he said he was serious. He has wanted to release music suitable for a restaurant or store setting, but certainly not meant for elevators or Starbucks. A few words about the rest of the program: Schnyder's "Sonatine Exotique," which incorporates French music with subtle jazz undertones, was performed by Cerar and Novacek. Schnyder, Swiss by birth, is a saxophonist who has resided in New York City for many years. By chance, all the composers on the program are also performers. Steel noted a resurgence in composer-performers, a dual role more common prior to the twentieth century. Violist Nokuthula Ngwenyama and pianist Melvin Chen performed Rohde's "Six Character Pieces for Viola and Piano." The composition's circumstances of commission are interesting: Ngwenyama saw a blurb about Rohde in a Curtis Institute of Music alumni newsletter and decided to contact him out of curiosity because it was stated that he is both a composer and a violist. (The two did not know each other as Curtis students.) Apparently Rohde is not very well-known; I'm interested in checking out more of his work. Daniel Bernard Roumain was certainly the most dynamic of the composers. He was full of ideas related to hip-hop vs. classical, European rhythm vs. American rhythm, the role of minority artists (especially African-American), criticisms of concert music, problems inherent in the interpretation of notated music, composer-choreographer collaborations (he works with the great Bill T. Jones), and suggestions for improved music education. He said an enormous amount in a short period of time, too much for me to summarize here. Check out his site for more information: www.DBRMusic.com. Roumain referred to Zorn often in his interview, calling him his "hero." At one point he compared the intended degrees of "forte" for Bach, Beethoven, Mahler, and Zorn. Roumain's imitations for each composer increased in volume and finally culminated in a loud scream for Zorn; Roumain enthusiastically jumped up and down, dreadlocks flying. Roumain performed a vibrant, hip-hop influenced groove for concert piano from his series of "Jam!" compositions. Last, the Ethel Quartet performed Bang on a Can cofounder Julia Wolfe's second string quartet, "Early That Summer." The emotional impact of the quartet took me by surprise. Wolfe composed a powerful, physical work with gorgeous melodic lines and intense rhythms. Steel has put together an impressive new music series at the Miller Theatre. Unfortunately the audience was sparse, but this could be due to the rather early start time (4 p.m.). Monday's event was the second installment of the "Meet American Composers" series, and I believe it will continue next year. In case you missed the concert, you can see Cerar and Novacek perform Zorn's "Le Momo" and Schnyder's "Sonatine Exotique" again at the Miller Theatre on February 1. Jeni - - ------------------------------ Date: Wed, 10 Jan 2001 17:33:10 -0500 From: Brian Olewnick Subject: Re: Two things I do not understand (Bailey, Moore) Patrice L. Roussel wrote: > > On Wed, 10 Jan 2001 13:33:17 -0500 "Joslyn Layne" wrote: > > > > i'm also interested to hear what Patrice and Brian thought of the > > Fatima Miranda show (wasn't that the same year?)? The Fatima show easily ranked as my least favorite of the festival (out of about 23 shows attended). It'd be hard to detail everything I disliked about it, but "pretentious" sums it up politely. Hard to imagine that it was an off-night, either. ;-) Brian Olewnick - - ------------------------------ Date: Wed, 10 Jan 2001 20:01:10 EST From: XRedbirdxx@aol.com Subject: Odysseus 7 I fairly certain this "radio space opera" album by FM Einheit, Ammer and Haage has been mentioned on the list. Might anyone know where to find (or have) a complete translation into English?? Much appreciation if so(!), Joseph - - ------------------------------ Date: Wed, 10 Jan 2001 20:38:34 EST From: ObviousEye@aol.com Subject: thurston moore - --part1_64.a372c00.278e689a_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit i have heard little of his improv work, but his solo record "psychic hearts" is very good. i for one, however, was incredibly distraught at the horror Sonic Youth unleashed upon the world entitled "Goodbye 20th Century". i love Sonic Youth, i have damn near everything they have released, but i absolutely dislike this album. it is boring and self-indulgent, and breaks no new ground. the first three in the SYR series were excellent, especially the one with Jim O'rourke..but this one faltered. ah well. i do sympathize with whoever brought up the "Thurston Moore feedback indulgence" topic. ben o. - --part1_64.a372c00.278e689a_boundary Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: 7bit i have heard little of his improv work, but
his solo record "psychic hearts" is very good.
i for one, however, was incredibly distraught at the
horror Sonic Youth unleashed upon the world entitled
"Goodbye 20th Century".  i love Sonic Youth, i have damn
near everything they have released, but i absolutely dislike
this album.  it is boring and self-indulgent, and breaks no
new ground.  the first three in the SYR series were excellent,
especially the one with Jim O'rourke..but this one faltered.
ah well.
i do sympathize with whoever brought up the "Thurston Moore feedback
indulgence" topic.

ben o. - --part1_64.a372c00.278e689a_boundary-- - - ------------------------------ Date: Wed, 10 Jan 2001 20:05:31 -0500 From: Joseph Zitt Subject: Re: thurston moore On Wed, Jan 10, 2001 at 08:38:34PM -0500, ObviousEye@aol.com wrote: > i for one, however, was incredibly distraught at the > horror Sonic Youth unleashed upon the world entitled > "Goodbye 20th Century". i love Sonic Youth, i have damn > near everything they have released, but i absolutely dislike > this album. it is boring and self-indulgent, and breaks no > new ground. the first three in the SYR series were excellent, > especially the one with Jim O'rourke..but this one faltered. > ah well. I don't think the album was supposed to break new ground, since it was looking backward at 20th century composition. I enjoyed it, though I don't listen to it often, and, if the traffic on Usenet was any sign, it served its purpose of turning their audience on to these composers. - -- |> ~The only thing that is not art is inattention~ --- Marcel Duchamp <| | jzitt@metatronpress.com http://www.metatronpress.com/jzitt | | Latest CD: Jerusaklyn http://www.mp3.com/josephzitt | | Comma: Voices of New Music Silence: the John Cage Discussion List | - - ------------------------------ Date: Wed, 10 Jan 2001 22:22:20 -0500 From: Joseph Zitt Subject: Dead Ringers CD A few days ago someone posted looking for the CD of the music from Cronenberg's "Dead Ringers". I've dug up (shuffling through unfiled CDs) a CD of symphonic suites from that, "Scanners", and "The Brood", composed and conducted by Howard Shore. If that's what you're looking for, it's available for trade. - -- |> ~The only thing that is not art is inattention~ --- Marcel Duchamp <| | jzitt@metatronpress.com http://www.metatronpress.com/jzitt | | Latest CD: Jerusaklyn http://www.mp3.com/josephzitt | | Comma: Voices of New Music Silence: the John Cage Discussion List | - - ------------------------------ Date: Thu, 11 Jan 2001 08:33:02 -0000 From: "Colourtone" Subject: Re: Zorn List Digest V3 #238 With regard to the present discussion on the nature of jazz my attention has been drawn to the following: http://www.newscientist.com/features/features_22708.html Does that put the fat in the fire? Richard Gardner - - ------------------------------ Date: Thu, 11 Jan 2001 08:26:35 EST From: Eisenbeil@aol.com Subject: Cecil Taylor Masterclass FOR IMMEDIATE RELEASE January 11, 2001 Cecil Taylor will be conducting a month long workshop at the Turtle Bay Music School in New York City during February 2001. This master class/ workshop will meet twice a week during the month and then culminate in a concert. The classes will be held on Wednesdays (Feb. 7, 14, 21) from 6-10pm and on Saturdays (Feb. 3, 10, 17, 24) from noon to 4pm. The concert is scheduled for Saturday Feb. 24 at 8pm. The tuition for each participant is $300. This includes all fees for the duration of the masterclass and concert. This letter has been sent to you as an invitation for your participation. Each musician must bring their own instruments. One bass amp will be provided. Turtle Bay Music School is located on 52nd Street between 1st and 2nd avenues. Payment should be sent to: Turtle Bay Music School 244 east 52nd Street New York, NY 10022 Payment for the tuition must be made by January 15th, 2001. Payment will only be accepted in the form of a check. All checks must be made payable to, Turtle Bay Music School and write on the check, Cecil Taylor Masterclass. At this point, because of the imminent deadline, FEDEX the application and tuition or if possible drop the materials off to the school. Be sure the envelope is clearly marked, attention: Cecil Taylor Masterclass. Below is an application form. Name: ______________________________________________ Address: ____________________________________________________________ Telephone: ____________________ FAX: ________________________ Email: ___________________________ Instrument: _________________________________ Experience: __________________________________________________________ Please direct all questions to Bruce Eisenbeil. He can be reached by the following means: Email: eisenbeil@aol.com Fax: 212-888-2726 For more info and updates see: www.eisenbeil.com - - ------------------------------ Date: Thu, 11 Jan 2001 11:55:55 EST From: JonAbbey2@aol.com Subject: belgian concert anyone anywhere near the area should try to check this out. it's going to be in quadrophonic, and the venue is supposed to have great acoustics. - ---------------------------------------- saturday, 20th of january 2001, 20h30 .. m a r c u s s c h m i c k l e r & t h o m a s l e h n .. .. j o h n b u t c h e r & p h i l d u r r a n t .......... ancienne eglise st-andre, place du marche, liege, belgium info: +32 (0)4 2232298 pdelges@radiantslab.com - ------------------------------------------------------------- Jon www.erstwhilerecords.com - - ------------------------------ End of Zorn List Digest V3 #239 ******************************* To unsubscribe from zorn-list-digest, send an email to "majordomo@lists.xmission.com" with "unsubscribe zorn-list-digest" in the body of the message. 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