“A Community of Expressers”

Excerpt from Hudson Space Sonnet #1
© Dylan Mattingly.  By kind permission of Dylan Mattingly.

David Bloom walked into Bard Hall, where a recital of student work was to be performed, and did a double-take.  The place was packed out, with people standing all around the perimeter.  He hadn’t been expecting such a crowd.

Sailing Past Lachenmann: Why I'm Ecstatic

I may slouch along no longer.  The Ecstatic Music Festival, several concerts of which I had the good fortune to attend, has ended, and Helmut Lachenmann, who provided the frame for my “Slouching” series, recently received the BBVA Foundation Frontiers of Knowledge Award in Contemporary Music, with 400,000 Euros in prize money attached:

The jury singled out the importance of his creative works, which “based on an intimate knowledge of the musical past, have enlarged the world of sounds during the last fifty years in a way unmatched by any other contemporary composer."

Slouching Toward Lachenmann: Björk’s Abyss

What Weill said in the twenties held true again:  "Once musicians obtained everything they had imagined in their most daring dreams, they started again from scratch.”
—Alex Ross

It was like heaven itself had opened up to me and shown me not a vision of the future at all, but better than that, the beginning of the road to the future.  I had come into the world at the end of an old, complex, overweighted style groaning with European modernist baggage, and history offered me a chance to step onto the ground floor of a bold new enterprise.  I didn't even try to resist.
—Kyle Gann

Alex Ross, that indispensable source for all things musical, reported that Björk once said, “Minimalism is my abyss!”  This came to me as something of a shock, as Björk had narrated a series for the BBC on that very thing.

"Only Connect!"

Only connect!  That was the whole of her sermon.  

Only connect the prose and the passion, and both will be exalted . . .

-E. M. Forster, Howard’s End

Music is my optimal language, and I want it to express my world.

-Dylan Mattingly, Composer

In 2006, a group of teenage musicians in California called Formerly Known As Classical presented a program of classical music that had been written “Since We’ve Been Born.”  That meant 1989, and the program they came up with was this:

Hallelujah Junction (1996) by John Adams
Nickelcurve (2005) by Preben Antonsen
Sonata for Lou Harrison (2004) by Matthew Cmiel
Of A Summer Evening (1988) by David Conte
Last Round (1996) by Osvaldo Golijov
Cantos Desiertos (1993) by Terry Riley

I knew the names of only two of the composers:  John Adams, who by that year was almost in his dotage, having reached the ripe old age of 59, and Terry Riley, who, at 71, was even older.  The others were unknown to me:  though Conte and Golijov were younger, they were well into middle age.  Antonsen and Cmiel are both quite young.