Dan Albertson has written for La Folia since 2004. He is active in endeavors that involve language, lexicography, music, musicology, poetry, and translation. He never attended university and savors the liberty of being betwixt and between pigeonholes in life and in music. He is the founder and director of the Living Composers Project since 2000, has contributed to a variety of American and European publications and has edited multiple volumes of the British journal Contemporary Music Review on the composers Helmut Lachenmann, Earle Brown and Aldo Clementi, plus two volumes on modernism and the string quartet. He has been a member of its editorial board since 2014. He collaborates with Cybele Records in Düsseldorf and has contributed notes to various other labels. His poems are often very short and static in nature.
Yes, that time of year has arrived when one orchestra after another trickles in with season brochures.
John McGuire is proof that music in the late 20th century and early 21st century may be simple without teetering into asininity.
A representation of a composer on the verge of brilliance, this recording is essential and, for now, the only option.
Nacht-Räume is neither song nor song-cycle. Indeed, it is mostly not a vocal composition at all.
My enthusiasm for the new in music has faded in recent years… I therefore take this opportunity to give some attention to eight composers 40 and under.
I call out these orchestras for their ineptitude. I call them out for pandering, for being complacent and for providing a disservice rather than enrichment to the cultural life of their respective cities.
Pierre Boulez, the maître, will turn 90 next month. This occasion engenders a poem and a brief acknowledgment of conflicted thoughts.
Critics and the artists that they cover are allies in having an inflated estimation of their own worth. Perhaps the former have been deluded into thinking that the act of reviewing, reflexive instead of creative, is of inherent heft.
The Rands Concerto is, contrary to its title, much more a series of interactions between piano and different sections of the orchestra.