Dan Albertson, (“he”), born betwixt a quarter and a third of a century ago and once from small-town Michigan yet now settled further to the Midwest, is biographically reticent, a man of few passions and perhaps, per Musil, a man lacking in qualities. No training in any particular field, but seems closest to belonging in the realm of musicology. He both delights in, and is dismayed at, his lack of institutional affiliation. He is the founder and director of the Living Composers Project, though his own interest has turned decidedly against contemporary music in recent years and towards the Baroque and Renaissance. Thank you, Sir Roger. Contemporary music is too often “garbage,” he believes, though with obvious exceptions. He is the author of critical articles for American and European publications and has edited four volumes of Contemporary Music Review, on composers Helmut Lachenmann, Earle Brown and Aldo Clementi. As a poet, he has collaborated with several composers but tends to write poems as gifts — sometimes welcomed. As translator, he works regularly with Cybele Records in Düsseldorf. He enjoys walks, jogs, swims and paintings, but not all at once.
Billed as “A Legendary Battle” and meant to be a showcase for the rivalry between Carestini and Farinelli in the London of the 1730s, Daniels and Jaroussky’s February concert interspersed a pair of concerti grossi with four sets of arie.
Piano concertos are experiencing a surge – and not merely from populist corners of the musical spectrum.
Shulamit Ran… is a composer of general tonality, or perhaps a general composer of tonality.
Having decried the bulk of contemporary music, I take a rare opportunity to indulge in advocacy.
In this case, a trio of autumnal concerts, more “pain” is displayed than “pleasure,” but such is the nature of music making in Chicago.