The book’s juxtaposition of two highly dissimilar composers allows an exploration of the breadth of influence of traditional Jewish culture on Western classical music in the 20th century and beyond. The first part focuses on the humane qualities of Dmitrij Šostakovič’s personality—his honesty and courage, which enabled him in difficult times to express Jewish torment and suffering under both the Soviet and Nazi regimes through his works; the second part is dedicated to the music of Daniel Asia and to his philosophical and religious identification with Judaism.
Category Archives: 20th- and 21st-century music
When the Count Basie Orchestra first achieved prominence in 1936 it was using a basic antiphonal style and repertoire borrowed from other performance groups.
In those days, the originality of Basie’s orchestra lay in its rhythm section and in the abilities of its several outstanding soloists. In effect, Basie brought a version of the Kansas City backroom jam session onto the bandstand.
When he re-formed his orchestra in 1950–51, after over a year of leading a sextet, Basie depended on mass effects, orchestral precision, adventurous voicings, and a new repertoire.
During this time he relied on the talents of composer-orchestrators Frank Foster, composer of Shiny stockings, Neal Hefti (Cute), Thad Jones (Speaking of sounds), and others. Basie’s new sound slightly echoed that of the Jimmie Lunceford Orchestra of the 1930s, but was otherwise without precedent in jazz history.
This according to “Horses in midstream: Count Basie in the 1950s” by Martin T. Williams (Annual review of jazz studies II  pp. 1–6).
Today is Basie’s 110th birthday! Above and below, the Count Basie Orchestra in 1951 (pictured above with Ethel Waters).
In 2005 Pat Metheny was alarmed by shortening attention spans and bite-sized media blips.
“The new form now is ringtones!” he exclaimed in an interview. “It went from a symphony to an album, then to singles, then edit your single, then four-bar loops, and now it’s down to one or two seconds.
In response Metheny created The way up, a CD comprising a single work that lasts over an hour. The guitarist described it as “a protest in the purest sense of the word—it offers an alternative, not just a shrill polemic…[the album] “is a reaction to a world where things are getting shorter, dumber, less interesting, less detailed, more predictable.”
“If you look at the whole history of the group, we’ve been totally interested in expansion in terms of form… It seemed like now was the time to go all the way and attempt to use the CD itself as a platform.”
This according to “The advancing guitarist” by David L. Adler (JazzTimes XXXV/2 [March 2005] pp. 36–42).
Today is Metheny’s 60th birthday! Below, the group plays the full work live in April 2005.
Wissner explores the Twilight zone series and offers multiple readings of the ways in which it used music, offering an understanding of the ways in which music—both original and stock—can be used in an anthology television show.
The book focuses both on the ways in which newly composed scores and stock music were used in the series and on how the music enhances and interacts with what we see and hear onscreen.
John Cage’s 18 microtonal rāgas are found in Solo for voice 58 from Song books (1970).
To perform them, the dhrupad and experimental music specialist Amelia Cuni decided to apply experimental procedures to dhrupad vocalism and to elaborate her Indian music background in a new music context. She also wanted to explore an influential contemporary composer’s take on rāgas and step back from her personal involvement with the tradition and observe it from another perspective.
In collaboration with the Berliner Festspiele and several other contemporary music venues, Cuni’s interpretation of Solo for voice 58 was premiered in Berlin in 2006 and has been performed since then at several European and U.S. festivals.
This according to Cuni’s “Chance generated ragas in Solo for voice 58: A dhrupad singer performs John Cage” (Journal of the Indian Musicological Society XLI [2011–12] pp. 127–54).
Above, the tabla notation for the performance; below, a studio recording of Cuni’s realization. More about the work and Cuni’s version is here; a full live performance can be viewed here (the performance starts at 10:00).
Once he had decided on the value of a new work he was determined to program it, regardless of whether it was long, abstruse, dissonant, difficult to perform, or difficult to comprehend. Often he arranged for the major portion of the week’s rehearsal time to be devoted to perfecting the orchestra’s interpretation of the new work.
This according to “Serge Koussevitzky and the American composer” by Aaron Copland (The musical quarterly XXX/3 [July 1944] pp. 255–269); an appendix lists 123 American works that he programmed during his first 20 years in Boston.
In 2014 Edition text + kritik launched the series FilmMusik with Ennio Morricone, a collection of essays edited by Guido Heldt, Tarek Krohn, Peter Moormann, and Willem Strank. Compiled in the year of Morricone’s 85th birthday, the book encompasses traditional readings of his music as well as new perspectives on it.
Morricone became famous in the 1960s as the composer of the music for Sergio Leone’s spaghetti westerns. Their unconventional sound is, however, only one aspect of his multifaceted work, which—in addition to more than 500 film and television scores—also includes classical orchestral music, avant-garde jazz, electronic music, and borrowings from contemporary pop music styles. The book explores the full diversity of Morricone’s oeuvre and lets the maestro speak for himself in an exclusive interview.
Kaikhosru Shapurji Sorabji completed his Second Organ Symphony in 1932. Over 78 years later, on 6 June 2010, Kevin Bowyer premiered the work in a nine-hour marathon; the symphony is longer than Mahler’s first seven combined.
Bowyer performed from his own hand-written edition of the work’s 350+ page score. When he learned of the project, the composer asked a friend “Why is this young man going to such trouble?”
“Well”, the friend ventured, “had your manuscript been much clearer, he might not have had to.” Sorabji promptly retorted that if all his manuscripts had been written with such fastidious care he probably never would have gotten around to writing that symphony at all!
This according to “Sorabji’s second organ symphony played at last: Kevin Bowyer’s nine-hour marathon” by Alistair Hinton (The organ LXXXIX/353 [summer 2010] pp. 41–47).
Above, Sorabji in 1933, a year after completing the symphony; below, a much briefer example of his work.
Related article: Sorabji resource site
Sun Ra’s music and poetry can claim to create otherwise impossible utopian worlds; this contrasts with the European Romantic tradition in which compositions or poems seek to describe utopian worlds that remain unattainable.
Music and words in Sun Ra’s view of the arts—a view based on African aesthetics—both have a magical function: they do not portray impossibilities but strive to make them a reality.
This according to “Pictures of infinity: Sun Ras klangliche Umrahmungen der Grenzenlosigkeit” by Christian Zürner, an essay included in “Was du nicht hören kannst, Musik”: Zum Verhältnis von Musik und Philosophie im 20. Jahrhundert (Hildesheim: Georg Olms, 1999, pp. 205–238).
Today is Sun Ra’s 100th birthday! Below, the Arkestra in 1976.
BONUS: Robert Mugge’s hour-long documentary, from 1980.
In 2013 Akademia Muzyczna im. Karola Lipińskiego in Wrocław launched the series Prace doktorskie, which will publish doctoral dissertations completed at the Akademia.
The first number in the series is Katarzyna Dziewiątkowska-Mleczko’s dissertation 2012 na orkiestrę: Wybrane zagadnienia warsztatu kompozytorskiego w perspektywie idei pozamuzycznych (2012 na orkiestrę: Selected issues in compositional skills from the perspective of extramusical ideas), analyzing the author’s composition 2012 na orkiestrę (2012 for orchestra).