I’ve had the privilege to listen to some pretty awesome music lately:

From bachtrack.com

Dreams and anxieties, religious and otherwise, were the dominant themes at Thursday night’s New York Philharmonic performance.

The concert program worked backwards in time, starting with Phantasmata by composer-in-residence Christopher Rouse (completed in 1985), followed by Ernest Bloch’s Schelomo (1916), and finishing with Brahms’Symphony no. 1 (published in 1877). The effect was such that the newness of the first piece conferred upon the following pieces a sense of freshness; the Bloch and Brahms felt just as “now” as the Rouse…

From OUPblog

In December I blogged about composers whose works challenge listeners to reconsider which combinations of sounds qualify as music and which do not. Interestingly, The Atlantic recently ran an article relating the details of a study that tested how much of our perception of what is “music” – in this case, pleasant, consonant music – is learned (and thus not innate). For me (and perhaps for you) there is nothing too surprising about this — there are far too many types of music in this world of ours for the perception of consonance (or, what is pleasing in music) to be innate — but it serves as a fine backdrop for what I’m about to write…

And another from bachtrack.com

“Wheel: mechanical, circular motion. The brake was invented later.”

Enno Poppe’s words about Rad(“Wheel”), the first piece on his Composer Portraits concert at Miller Theatre on Saturday night, express well the experience of listening to it. With their two keyboards connected to computers that allowed them to play a huge array of scales in multiple tunings, Laura Barger and Ning Yu of Yarn/Wire gave a dizzying, athletic performance of the piece, which Barger related afterwards left her and Yu feeling almost like madwomen…

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