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On May 28, 2013, Delos released Sean Hickey’s first album on the “Great American Label,” Concertos, featuring conductor Vladimir Lande, cellist Dmitry Kouzov and clarinetist Alexander Fiterstein. We asked Hickey 5 questions…
What does it take, in 2013, to record two concertos?
Plainly, it takes money and some flexibility. Unless one has a lot of the former, recording a large orchestra is entirely prohibitive in this country without substantial private or corporate patronage. I am fortunate to have a great relationship with conductor Vladimir Lande, who splits his time between the States and Russia, and who in many ways made this Delos recording possible through his directorship of two fine St. Petersburg orchestras. My Cello Concerto had its Russian premiere at the Beloselsky-Belozersky Palace, a neo-Baroque edifice on the banks of the Fontanka River with Dmitry Kouzov – who commissioned the work – in the solo role. The Clarinet Concerto saw its Russian premiere at the Large Hall of the St. Petersburg Philharmonic, one of the greatest halls in all of Europe, with Alexander Fiterstein as soloist.
I very much appreciate the working methods of the Russian orchestral musician. In my experiences in performances and recordings there, they have worked and rehearsed tirelessly and without complaint. (If they did, my limited Russian didn’t permit to me understand.) In both concertos, the distance between first rehearsal and final performance was amazingly large. These players simply dig in for hours until they get a part right, breaking every couple of hours for a brief cigarette and a flask of tea. Both works were recorded in the legendary Melodiya Studios on Vasilevsky Island in St. Petersburg, known from Soviet times as producing recordings from the likes of Shostakovich, Rostropovich, Mravinsky, and many others.
The video for Corpus was created by Satan’s Pearl Horses – a New York / Tokyo based collective that includes Jimmy Sakai, Nikolai Antonie, and Kohta Asakura. Each of the tracks off the album is accompanied by visuals during the live show. The videos each deal with a part of the body in a very abstract way – limbs, lungs, heart – so that the final one is kind of a reveal in which you get the entire picture.
[EAR HEART MUSIC] Daniel Wohl & Transit New Music – “Corps Exquis”
Tuesday, June 4, at 8:00 PM General Admission: $15 Members/Students/Seniors: $10 ..:: Website
On Saturday, May 25, Instruments Unbound: Soloists with Electronics, Found Sounds, and Video, a multimedia concert curated by Jennifer Stock, took place at the 92Y Tribeca. Four eclectic sets by Florent Ghys, Lesley Flanigan, Angélica Negrón, and Jennifer Stock herself showcased very different approaches to live processing and video art/projections.
For a full week (March 20 to March 27, 2013), the Park Avenue Armory opened its 2013 season with a ritualization by Rirkrit Tiravanija of Karlheinz Stockhausen’s OKTOPHONIE. The piece was staged as the composer originally intended: in outer space. Well, kind of.
Karlheinz Stockhausen’s OKTOPHONIE at Park Avenue Armory – Photo by Stephanie Berger
On Monday, April, 22, Cantaloupe Records inaugurated its Cantaloupe Café series at The Strand in NYC. It took the form of an evening of music and conversation around Shelter—a collaboration between Bang on a Can co-founders Michael Gordon, Julia Wolfe and David Lang.
Martha Cluver, Mellissa Hughes, and Caroline Shaw (known together as Va Vocals) performed “I Want to Live.”