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.
Here was a concert of music from Vienna that, for once, ignored Beethoven, Mahler and Mozart.
Shulamit Ran… is a composer of general tonality, or perhaps a general composer of tonality.
Having decried the bulk of contemporary music, I take a rare opportunity to indulge in advocacy.
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.