Dan Albertson

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.

Kurtág in New York, Me in Michigan

The Kurtágs made their long-awaited New York début early last month as part of a two-night Hungarian focus at Carnegie Hall, a bold move made possible by the Hungarian Cultural Center.

Kurtág in New York, Me in Michigan

The Kurtágs made their long-awaited New York début early last month as part of a two-night Hungarian focus at Carnegie Hall, a bold move made possible by the Hungarian Cultural Center.

Zweiter Spaziergang mit Rücklauf

Each of the three works on this disc was written soon after the composer’s brief apprenticeship with Stockhausen and when Rihm was between 22 and 24.

Zweiter Spaziergang mit Rücklauf

Each of the three works on this disc was written soon after the composer’s brief apprenticeship with Stockhausen and when Rihm was between 22 and 24.

Three, by Two

Bruckner’s Third mass is not in fact his third, nor are the numbers of his symphonies reflective of their chronology.

Three, by Two

Bruckner’s Third mass is not in fact his third, nor are the numbers of his symphonies reflective of their chronology.

Eastern Kingdom 1, Federal Republic 0

Austrian composer Clemens Gadenstätter (born 1966), as his age might suggest, comes from the generation of composers awash with second-rate Grisey and Lachenmann clones.

Eastern Kingdom 1, Federal Republic 0

Austrian composer Clemens Gadenstätter (born 1966), as his age might suggest, comes from the generation of composers awash with second-rate Grisey and Lachenmann clones.

Of Wisps and Peals: Mark André’s ‘…auf…’ Triptych

Massive metallic fusillades permeate the crackling stillness. Knocks, rattles and blowing wind are recurrent motifs.

Of Wisps and Peals: Mark André’s ‘…auf…’ Triptych

Massive metallic fusillades permeate the crackling stillness. Knocks, rattles and blowing wind are recurrent motifs.

Erster Spaziergang

Notions of the cyclical and the fragmentary permeate the 40-year output of Wolfgang Rihm, perhaps the most prolific composer of our era.

Erster Spaziergang

Notions of the cyclical and the fragmentary permeate the 40-year output of Wolfgang Rihm, perhaps the most prolific composer of our era.

Not So Good Conducting, Worse Composing

Some conductors age gracefully. Others waver as the years accrue, and no one has the courage to turn them out to pasture.

Not So Good Conducting, Worse Composing

Some conductors age gracefully. Others waver as the years accrue, and no one has the courage to turn them out to pasture.

Denhoff, Grisey, Neuwirth

German pianist Susanne Kessel is one of European new music’s greatest friends and this new release is another demonstration of her ability to perform with charm, grace and virtuosity.

Denhoff, Grisey, Neuwirth

German pianist Susanne Kessel is one of European new music’s greatest friends and this new release is another demonstration of her ability to perform with charm, grace and virtuosity.

Romantic, Impressionist, Complexist: Bruckner, Griffes, Ferneyhough

His Fourth Symphony, noted especially for its distinctive hunting-call scherzo, is probably Bruckner’s most famous score.

Romantic, Impressionist, Complexist: Bruckner, Griffes, Ferneyhough

His Fourth Symphony, noted especially for its distinctive hunting-call scherzo, is probably Bruckner’s most famous score.

Boulez: A Master Speaks Anew

There may be no post-World War II work for voice and instrumentalists more famous than Pierre Boulez’s 1950s song cycle Le marteau sans maître.

Boulez: A Master Speaks Anew

There may be no post-World War II work for voice and instrumentalists more famous than Pierre Boulez’s 1950s song cycle Le marteau sans maître.