Is it any wonder? An opera that angered Louis XIV in 1677 brings enormous pleasure in 2020.
When in doubt, lean towards letting the world in, advises Fontaines D.C.. It’s scary. In fact, you will probably be terrified most of the time. But do it anyway. With eyes open.
This is demanding contemporary music that succeeds at the trick of pulling you in — and makes you glad to be there.
The final, ineluctable quality that Ornette Coleman brought to the table was that he had an individual “voice,” which is the sine qua non and preeminent ethos in jazz.
This San Francisco Symphony release proves to be a fitting send-off for music director Michael Tilson Thomas; there’s much to admire in the Seattle Symphony’s playing of Carl Nielsen’s first two symphonies; fiery energy from both violinist Arabella Steinbacher and the excellent Münchener Kammerorchester make their new disk a gem.
Though it’s inconsistent, Oliver Tree ‘s debut album offers an ample display of songwriting acumen along with his determined eccentricities.
“Ornette was looking for those notes, the ones that feel no pain.”
The album’s set of pieces not only revels in the spirited formal experimentation of the great musician’s music, but its expressive urgency as well.
For fans of David Lang and/or one of the country’s best choirs, this is a can’t-miss release; Christopher Rouse’s Fifth is about as fresh and engaging a Symphony as the composer wrote; Hub New Music plays the daylights out of Robert Honstein’s Soul House.
The solo format at Alexandra Palace recalled his recent “Conversations with Nick Cave” tours, a similar chance for the singer to deconstruct his songs at the piano, except that he never addressed an imagined audience beyond his lyrics.