Dan Albertson has written for La Folia since 2004. His pursuits involve languages, lexicography, music, musicology, poetry, and translation, and tend to veer away from mainstream artists. He has worked on the Living Composers Project since 2000, has written articles for MusikTexte, has contributed entries to the encyclopedia Komponisten der Gegenwart, 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 and a co-edited volume on Spanish music beyond Spanish borders. He has been a member of its editorial board since 2014. He translates notes for Cybele Records in Düsseldorf and has contributed his own notes to a variety of international labels. His poems are generally short and static in nature. American by birth, he is now based abroad.
The Jesuit polymath Athanasius Kircher, his varied books and adventures, make solid fodder for a spectacle.
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.