Music Monday: Rzewski: The People United Will Never Be Defeated!

Zingers aside, tho, it’s hard not to get the sense from looking at Rzewski’s list of works that he has longstanding left-wing and anti-statist views. In addition to The People United Will Never Be Defeated!, for example, he has also written pieces about the 1971 Attica prison uprisings and a version of the Antigone story that emphasizes the title character’s role as a principled resister of an unjust government. So even if he’s deliberately fuzzy about them in interviews, I suspect that there are genuine leftist views lurking there in the background. Born in 1938 in Westfield, MA, Rzewski was not wanting for a traditional education. He attended Phillips Academy followed by Harvard and Princeton, where he studied with Roger Sessions, Milton Babbitt, and other modernist luminaries on their respective faculties. In 1960, he went to Italy to study with Luigi Dallapiccola and also to further his career as a contemporary pianist (he’s been playing since he was five years old, and has worked to a place of ferocious, if controversial ability (he sometimes improvises cadenzas in the middle of Beethoven piano sonatas, which some people are . . . less than excited about.).). While there, he was one of the co-founders of Musica Elettronica Viva, one of the first groups to experiment with live improvisation using electronic instruments, a group that is still active today, some fifty years later.

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Music Monday: Still: Seven Traceries

Sometimes called “The Dean of African American Composers”, William Grant Still (1895–1978) is undoubtedly most famous for his first symphony, the Afro-American Symphony from 1930. That’s a great work, and it’s definitely worth getting to know if you’re not familiar with it, but I think relying on it too heavily to give a snapshot of Still’s output runs the risk of pigeonholing him and limiting our conception of his musical breadth. Still himself was adamant about this [College Music Symposium], insisting that he “wrote as [he] chose, using whatever idiom seemed appropriate to the subject at hand” and “did not bow” to the “complete domination” of Jazz any more than he did to the modernist style he encountered when studying with Edgard Varèse.

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Music Monday: Moroi: Piano Sonata No. 2

Moroi Saburō (諸井三郎 for those who read kanji) was born just to the north of Tōkyō to a wealthy, industrious family in August of 1903. He was very close to his older brother Kanichi, and looked up to him as something of an inspirational figure. Said brother was reasonably educated in the arts, and gave Moroi his first piano lessons. (Kanichi would also take him to see the pianist Sueko Ogura perform the Beethoven piano sonatas — I haven’t been able to tell if this was his first exposure to said sonatas, but given the influence of Beethoven’s style on Moroi’s work, it seems an occasion well worth mentioning.) Moroi continued to pursue his musical studies — both on piano and in composition — both in high school and college, frequently working from books instead of studying with teachers in person.

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Music Monday: Dring: Trio

"Daaaaaaaaaaa, ba du ba du ba du ba deedle-dee" — It's not often that the first two bars of a piece grip me so suddenly and surely as the opening of Madeleine Dring's trio for flute, oboe, and piano. Yet the very first time I heard them — streaming background music at the office, on a CD I had clicked on for a completely different piece — I dropped what I was doing and frantically tabbed over to Spotify to figure out what I was listening to. It's good to be reminded that even with all the repertoire I already know, there are still delightful surprises out there in the world of this music I love.

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Music Monday: Chin: Piano Concerto

Close readers of my tumblr will know that at the end of February, I caught the West Coast (possibly American?) première of Unsuk Chin and David Henry Hwang's Alice in Wonderland and had rather mixed feelings about it. Most of the negative ones were associated with the words, however, so I tracked down some of Chin's non-operatic writing and I am so glad I did, because she is a fantastic composer when not dealing with a deliberately nonsensical libretto. (I am also very late to this party; she has been positively showered with awards, up to and including the Grawemeyer in 2004, and her works are performed regularly by top ensembles around the world.) 

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Music Monday: Tabakova: Modetudes

This week, we pivot from the saturated world of the orchestra to the leaner, more tightly focused world of the solo piano. Dobrinka Tabakova was born in Plodiv, Bulgaria in 1980, but she moved to London in 1991 and has lived there ever since. Altho her family is full of doctors and scientists, they were also avid music-lovers, and it didn't take long for Tabakova to start gaining recognition — she won her first prize (the Jean-Frédéric Perrenoud prize) at the age of 14, and has racked up numerous accolades since, including the honor of writing an anthem for Queen Elizabeth II's Golden Jubilee. All of the performances currently listed on her website are in Europe, but with her prodigious talent, I'm sure it's only a matter of time before we start hearing her works played on this side of the pond as well.

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