DAVID LANG first heard Wagner’s “Tristan und Isolde” at the San Francisco Opera in 1974, as an undergraduate student and aspiring composer. This was the first opera ticket — standing room — that he had paid for with his own money, and he arrived well prepared, with a copy of the score and a flashlight to study it by.
“It was a really big deal for me,” Mr. Lang, now 55, said recently, sitting on a sofa in his light-flooded SoHo loft while two parakeets called noisily for attention from another room…
(…) Concerto Köln, which has about 30 members, is a collective: They own their work and manage themselves. The members are involved in the creation of every project. This is very unusual. Orchestras usually are run from the top down. The board of directors hires the management, which hires the conductor and the orchestra. The low people on the totem pole are the musicians, whose professional lives are dictated to from above. Here with Concerto Köln, and with a few other orchestras that I have worked with (mostly in Europe), management is hired by the orchestra…
Sometimes, all you need is a little push. In the fall of 1976, when Julia Wolfe arrived at the University of Michigan from Pennsylvania, she was just 17 and viewed herself as a “wild teenager” with her sights on social sciences and politics. Activism was a possible path. Music wasn’t on her radar.
But one day, a friend coaxed Wolfe into taking a peculiar music class, taught by a forward-thinking Quaker who didn’t care how much you knew about composing…
At the Barbican Centre in London, on March 20, 2012, the Bang on a Can All-Stars premiere Field Recordings — with new works by Gordon, Lang and Wolfe. The evening-length project that is as much a mystery as a concert – a kind of ghost story. The ghosts aren’t the physical presence of people gone before, but they are the ghosts of sounds, images, ideas, and voices. Each composer has been asked to find and interact with something recorded before, using the power of music made right in front of us to reach out to other things not present…
A large screen looms over the stage. Projected onto it is a black-and-white close-up on an eyeball, fluttering in a state of nervous distress.
An overture, powered by distorted electric guitar and staccato strings, accompanies this sooty B-movie-style image. A choir grasps toward high-pitched wails…
Sometimes, all you need is a little push. In the fall of 1976, when Julia Wolfe arrived at the University of Michigan from Pennsylvania, she was just 17 and viewed herself as a “wild teenager” with her sights on social sciences and politics. Activism was a possible path…
It’s spring and baseball season is under way again — for me, always a welcome event. Lately, I’ve been thinking about the game and its history. Which reminded me of the recent passing of the baseball legend Duke Snider. And, surprisingly, that made me think of classical music. Honest! I grew up in the 1960s in Los Angeles, a die-hard fan of the Dodgers. I loved baseball, loved going to the games, but I identified with the team in other ways as well…
