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.
In this case, a trio of autumnal concerts, more “pain” is displayed than “pleasure,” but such is the nature of music making in Chicago.
Even before the recent spate of double celebrations, marking 150 years since his birth and 100 years since his death, Gustav Mahler had gained celebrity far beyond his achievements, which are large in scope, yet shallow in musical integrity.
The version here is mostly 1724, much more so than Haller, though the inclusion of the duet Himmel reiße, Welt erbebe was an adroit choice.
Is Brucknerophilia a recognized medical condition? I caught it early in life and find that it grows worse, by which I mean better, with age.
A direct comparison of the existing recordings of Lachenmann’s three quartets seems pointless.
Marc Minkowski, once the rising hope of French early music, is nearing 50, and has a new label, Naïve, after more than a decade with Archiv.