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.
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.
I offer another Rihm stroll, now in very abbreviated tones, though maybe not legally quite brief enough.
The Brahms symphonies were an area that I avoided for much of my life. I equated Brahms with tradition and sterility.
The latest offering in the KAIROS Lachenmann series has a famous work, an obscure work and a new work, spread across two discs but offering only 94:47 of music.
Mark André must be a fearless man, a true frondeur. His 2001-04 stage work …22, 13…, a Musiktheater-Passion in drei Teilen, shows no hesitation either musically or theologically.
Christina Pluhar makes her Virgin début with this offering — arrangements of some of Monteverdi’s “greatest hits,” alongside lesser-known but no less endearing pieces, largely from the middle or late madrigal books.