Classical Music is Dead*

Sounds at Silvershed

Posted in art, concert, events, fashion, music by The Nouveau Classical Project on 06/03/2011

Neon of Trivial models one of his own designs

Tomorrow evening we’re playing some plugged-in music on the rooftop of the Silvershed. While we are super excited about playing, we’re even more excited about not having to go somewhere else to party, since we’ll be throwing a listening party at the venue, complete with inexpensive libations after the show!

But wait, there’s more!

In addition to the concert and party, our guests can walk through the Silvershed gallery and view fashion-inspired prints by Patrick Meagher. Culture, cocktails, and collective fun in one night.

Music (in no particular order):
Ananta- Ryan Manchester
Cliffs- Aphex Twin, Arr. Trevor Gureckis
Saint Arc- Daniel Wohl
Bed from Einstein on the Beach- Glass
Changing Opinion- Glass
Suspended Harmonies- Trevor Gureckis

Fashion: Millinery by Trivial

Art: prints by Patrick Meagher.

Tickets are 15 at the door or online here: http://silvershedncp.eventbrite.com/

Doors open at 7:30 pm

See you there!

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Science and Sound as Storyteller

Posted in concert, music, review by The Nouveau Classical Project on 06/07/2010

Sunday evening we headed to the NYU Skirball Center to see and hear Icarus at the Edge of Time, a new children’s book by superstar string theorist Brian Green, and in this case, an event in the World Science Festival that attracted clusters of cute kids. After an introduction by Tracy Day and a short talk by Green on the Icarus myth and black holes, the story began. A film by Al and Al vividly portrayed a futuristic galaxy as Liev Schreiber narrated. We especially loved Icarus’s spaceship, complete with bird-like wings. Brad Lubman conducted the Orchestra of St. Luke’s in performing Philip Glass‘s accompanying score, which was composed exclusively for the film. Glass himself was in attendance with his two youngest sons.

Green’s Icarus re-imagines the story of Icarus in physicist kind of way: in this story, Icarus foolishly travels to a black hole after his father tells him not to. His journey is a success, except for the fact that he forgot to account for one thing: time. When Icarus returns, it is 10,000 years later, which felt like an hour to him, and everything he knew was gone…floating in space are detached feathers, representing his fall. Icarus at the Edge of Time dark tale for young ones that teaches them: a) a bit about Einstein and relativity, and b) if Daddy says ‘Stay away from black holes,’ YOU’D BETTER LISTEN!

So if you want your kids to grow up smart and well-behaved, perhaps you should pick up this book and mix in some Glass with that Mozart!

Glassworks NY Premiere (really) at LPR

Posted in Uncategorized by The Nouveau Classical Project on 04/13/2010

We, too, were surprised that this quintessential Philip Glass piece (for God’s sake, it’s called GLASSworks!), composed in 1981, was a NY premiere. Enjoy these photos of Signal (super tight, on-point ensemble with a really eclectic repertoire) with Michael Riesman (=teddy bear, as demonstrated by the sensitivity with which he played the Glassworks opening), taken with a Droid Eris Smartphone.

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Superstar-y Night

Posted in events, music, Uncategorized, we like by Sugar Vendil on 11/19/2009

-Amanda Hick and Walter Aparicio, soprano and piano extraordinaires

Went to BAM for the first time last night to see the US premiere of Philip Glass’s new operaKepler,’ an hour-and-a-half work about  the scientist’s exploration of the sky and his coming to terms with science and God: he arrives at the conclusion that astronomy and God are connected and it is up to humanity, through science, to find out God’s plan.

The music sounded great with the libretto, which included some of Kepler’s own quotes and the usual libretto filler.  The harmonies and the rhythm were the strongest supporting elements of the ideas contained in the text.  The musicians and conductor Dennis Russell Davies straight up had their shit together.  Sound-wise, Kepler was fantasic.

The production itself, however,  needs a makeover.  At an opera strong visuals are expected, a must even.  Aesthetics aside, visuals also help the audience follow the story better.  For example, the main soloists dressed in plain black concert attire were meant to be the voices of Kepler’s thoughts, but that was not clear.  At the very least, the scenery could have been, I dunno, a starry night perhaps?  (This seems obvious to me.)  I understand the budget was probably low, but creativity does not take thousands of dollars…and we can confirm that here at The Nouveau Classical Project!  My mind was racing with ideas as I sat there.  Anyway, you should still go see it!

Unfortunately I don’t have any pictures of the performers, as a rabid usher nearly clawed my boyfriend’s face off as he tried to take a photo of the closing bows.  (She probably would have Tasered him if she had one handy.  Thank God she is not in any real position of authority.)  But enjoy these after-party photos (and a special video!), where, luckily, Ms. Anger Management Issues was not invited.

Minimalism, My Miniskirt, and I

Posted in music by Sugar Vendil on 11/11/2009

missoni_2v PhillipGlass_1983 pucci balloonsWho: T. Gureckis, Assistant to Philip Glass/Co-founder, Found Object Music Productions +1 (me)

What: Philip Glass Violin Concerto No. 1

Bruckner Orchester Linz/Dennis Russell Davies, Conductor/Renaud Capuçon, violin

Where: Avery Fisher Hall

Wore: Bandage mini-skirt, eggplant v-neck tank, ankle boots, leather jacket, and tights (to keep it proper)

Interesting Fact: Got ‘booed’ back in 1987 (I was probably too busy watching ‘Jem and the Holograms’ to notice)

Feelings/Thoughts: Enjoyed immensely.

Why such an aversion (to say the least) to Glass by many classical music aficionados?  Some people really HATE Philip Glass, with a passion.  Whoever thought arpeggios could cause such a stir?  I don’t hate on Missoni or Pucci for having a signature style.

Unless one really knows Glass’s works really well, most would not be able to readily distinguish one piece from another (I wouldn’t, beyond solo vs. chamber vs. concerto, etc.) because there are so many similarities.  Lots of simple arpeggios, major, minor, 7ths, nothing un-analyzable.  This is why his music has oftentimes been disregarded as having any sort of musical value: it is accessible, unpretentious, straightforward.  However, even those who hate his music the most can probably instantly recognize Glass in 5 seconds (or less).  Regardless of how one feels about the fact that, yes, Glass is repetitive (and not just within a piece of music but across his body of work as a whole) it’s undeniable that he’s done something original, created his own musical identity that no one else can claim, and that alone is deserving of respect.